The signing of the Declaration of Independence is a moment in history that feels larger than life in all of our hearts and memories. The men involved are true superheroes, giants in our minds. So, the musical adaptation of that moment in national memory has to also be larger than life and unforgettable. With a breathtaking set and colorful, delightful costumes, Milburn Stone Theatre’s 1776 captures that spectacle. It is a solid production with the trim of professionalism that sets it slightly above the average community theatre.

The production is not perfect. It does suffer from some problems either with the lighting design or execution that left some faces in shadows throughout the evening. The large, live orchestra is sometimes impressive, and sometimes thrown by a sour note, and sometimes so loud that the singer(s) cannot be heard over the volume level. However, the set and costumes are flawless, which creates a real visual awe.

The performances are, for the most part, excellent. At the center is John Adams (Ken Kemp), who fights with everything he has for his dream of American Independence. Kemp is obnoxious and disliked, yet underneath there is passion and heart. Coming beside him on his quest is Benjamin Franklin (David Wills). Wills is silly and fun as the never-serious doctor. He is an excellent foil to Adams, and the two men have great chemistry together. With Thomas Jefferson (Matt Pearson), they form an unlikely trio. Pearson appears to be often uncomfortable, and it is not always clear is this is Pearson or the muddled execution of a character choice.

The two strongest performances, however, come from the “villains.” As South Carolina’s Rutledge, David Allen is part gentile gentleman and part spoiled young man. It works perfectly. He has interesting and ultimately effective take on “Molasses to Rum.” Alive with passion for squashing the Declaration is Dickinson (Scott Mason). Mason gives a powerful performance that commands the stage in every scene.

The leading ladies are a bit more of a mixed bag. As Abigail Adams, Kati Donovan has beautiful vocals but she is a little too playful and lacks some of the composure and maturity expected in Abigail. As Martha Jefferson, Amy Luchey is really just forgettable. Her vocals lack strength and her acting is stifled. It is hard to believe that these were the best choices available for a show with only two female roles.

On the other hand, taking a role and making it shine was Chandler Smith as the courier. His hauntingly beautiful vocals in “Mama Look Sharp” was the best moment of the entire production. Also standing out in smaller roles were Phil Hansel as McNair, Brian Drake as Livingston, Ryan Milliner as Wilson, and Ralph Denton as Hopkins.

1776 is an awesome show. This is a solid and enjoyable production filled with all the spectacle that is to be expected and is perfect for this time of the year as we think about American Independence.

Photo Gallery

Ken Kemp as John Adams and Matt Peterson as Thomas Jefferson	Chandler Smith as the Courier
Scott Mason as John Dickinson

Photos by Jacob Watkins

Cast

• Dr. Josiah Bartlet: Raymond Von Whald
• John Adams: Ken Kemp
• Steven Hopkins: Ralph Denton, Sr.
• Roger Sherman: Joseph Bradley
• Lewis Morris: Richard Colon
• Robert Livingston: Brian Drake
• Rev. Jonathan Witherspoon: Matt Watkins
• Benjamin Franklin: David Wills
• John Dickinson: Scott Mason
• James Wilson: Ryan Milliner
• Caesar Rodney: Ryan Taylor
• Col. Thomas McKean: Mike Ware
• George Read: John Lasher
• Samuel Chase: Mathew Wolffe
• Richard Henry Lee: Jamie Mikijanic
• Thomas Jefferson: Matt Peterson
• Joseph Hewes: Jeff Gorcyca
• Edward Rutledge: David Allen
• Dr. Lyman Hall: Matt Tart
• John Hancock: Richard Waterhouse
• Charles Thompson: John Mulvey
• Andrew McNair: Phil Hansel
• Abigail Adams: Kati Donovan
• Martha Jefferson: Amy Luchey
• Leather Apron: Silas Taylor
• Leather Apron/Painter:Trevor Korn
• A Courier: Chandler Smith

Production Staff

• Director: S. Lee Lewis
• Musical Director: Marji Eldreth
• Additional Staging: Marshall B. Garrett, Eyvo Johnson, Maren Lavelle.
• Costumes Provided By: A.T. Jones and Sons
• Lighting Design: William A. Price III
• Properties Design: Eyvo Johnson.
• Stage Manager: Serenity Rowland
• Assistant Director: Maren Lavelle
• Assistant Stage Manager: Alli Graham & Kelly Wolffe
• Master Electrician: Tyler Bristow
• Costumiere: Gay Lynn Price
• Sound Engineer: Alex Paul
• Light Board Operator: Serenity Rowland
• Fly Rail Operator: Tom Collins
• Scenic/Lighting Crew: Shawn Allbright, Richard Colin, Matt Peterson, Matt Wolffe, Kelly Wolffe, Rob Snyder, Tom Collins, Alli Graham

Orchestra

• Conductor/Key Boards: Marji Eldreth
• Violin 1: Lingchin Liao
• Violin 2: Julia Hacker Smith
• Cello: Csilla Lakatos
• Percussion 1: Stephen Tipping
• Percussion 2: Colin Bunnell
• Trumpet: S’aeed Abuwi
• French Horn: Tyler Bjerke
• Trombone 1: Tony Ohannessian
• Trombone 2: Tim Plimpton
• Reed 1: Anna Thompson
• Reed 2: Tim Dolzine
• Reed 3: Kati Lockwood

Disclaimer: The Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Performing a well-known musical of which the audience has a preconceived expectation is quite an undertaking. Milburn Stone Theatre’s production of The Sound of Music has definitely met the challenge.

Entering the beautiful 400-plus seat theater, the well-executed set is enhanced by roaming nuns and chirping birds, which further create a feeling of sitting on the outskirts of an abbey in pre-World War II Vienna. Scenic artist Andrea Healy flawlessly created a realistic and easily transformable set. Scene changes were quick, smooth, and well-executed. Costume designer Gail Bareham does a fine job with recreating most period costumes, especially with all the Van Trap children. Unfortunately, some suits, dresses, and Third Reich uniforms were more modern and less authentic. However, with over a 100 costumes: Kudos! The lighting of the show was spot-on, creating the just right mood, feeling, and atmosphere. Especially stand out was the spotlight on Mother Abbess at the end of the wedding.

The stars of the show without a doubt are the Van Trap children: Christy Wyatt (Leisl), Cody Palmer (Friedrich), Angela Preziuso (Louisa), Silas Taylor (Kurt), Selah Latshaw (Brigita), Cosette Latshaw (Marta), and the adorably perfect Caitlin White (Gretl). All seven were truly triple threats. Wyatt is especially a standout. Her performance and that of Chad Michael Jervis (Rolph), who performs the role with perfect growth and emotion, in “Sixteen Going on Seventeen” is one of the highlights of the show.

Jillian Victoria gives a strong, affectionate, whimsical, and touching performance as Maria; it is easy to believe her love for the children and the children’s adoration for her. She and the kids practically bring down the house in “The Lonely Goatherd.” Boy, can that girl yodel! Joseph Mannherz (Captian von Trapp) delivers a slightly unbalanced performance. Playing the role with elegance and a calm demeanor, the strength and the pain of the captain did not come through in his acting. However when he sang, he conveyed every appropriate emotion to whomever he was interacting with. This is truly evident in his heart-wrenching version of “Edelweiss.”

Ted Cregger’s flawless comedic timing in his unconventional portrayal of Max Detweiler was delightful. Amy Dolan (Elsa Schrader) delivers a vocally strong performance most evident in “How Can Love Survive.” Marji Eldreth tackles the vocally demanding role of Mother Abbess. Eldreth puts great effort into the role but lacks a certain motherly maturity. However, except for a few pitchy notes, “Climb Every Mountain” is definitely a crowd-pleaser. Overall, the show is solidly musically directed by Michael Bareham, and the ensemble nails practically every note. A standing ovation to all of the sisters for their impeccable harmonies.

Choreographer Bambi Johnson proves without a doubt that simplistic and creative choreography is a beautiful thing, and it’s a joy to watch. Director S. Lee Lewis overcomes most challenges in the massive production. His interpretation and staging is bold, creative, and artistically well planned out. The twenty-one piece orchestra conducted by Bareham absolutely shines and pays a great homage to Rodgers and Hammerstein. This show is a must-see for the whole family. So hurry, run, “Climb Every Mountain” if you have to, but don’t miss The Milburn Stone Theatre’s production of The Sound of Music.

Photo Gallery

Photos provided by Milburn Stone Theatre

Production Staff

• Director: S Lee Lewis
• Music Director: Michael Bareham
• Choreographer: Bambi Jhonson
• Costume Design: Gail Bareham
• Sound Design: Marshal B Garrett
• Scenic Design: Andrea Healy
• Lighting Design: David Allen
• Dance Captain: Charis Latshaw
• Stage Manager: Kelly Rice
• Assistant Stage Manager: Erick Lack
• Master Electrician: David Allen
• Master Carpenter: Bob Newton
• Costumiere: Marji Elderth, Missy Wyatt
• Carpenters: Tom Gorin, Dave Spacht
• Sound Board Operator: Shane Springer
• Light Board Operator: Kelly Rice
• Fly Rail Operator: Brandon Gorin
• Back Stage Crew: Tyler Peterson, Dave Spacht
• Scenic Crew: Tyler Bristow, Kaitlyn Herrick, Mary Kay Herrick, Chad Jervis, Sam Kasehagen, Nina Krauss, Charis Latshaw, Rebekah Latshaw, AJ LoPorto, Russell Matthews, Cameron Moore, Kirk Moore, Tess Pohlhaus, Holly Osbourne, Joe Rowland, Laura Steimer, Mike Ware
• Scenic Painters: Patricia Egner, Terrie Goins, Marty Gorin, Cyndie Kudrewicz, Sondra McKeever, serenity Rowland, Justine Quirk
• Photography: Rachel Cox

Orchestra

• Conductor/Piano: Michael Bareham
• Flute 1: Heidi Maupin
• Flute 2: Rachel Butera
• Oboe/English Horn: Faye O’Brien, Hannah Taylor
• Clarinet 1: Allison Opitz, Sara Egner
• Clarinet 2: Christy McCall
• Bassoon: Walt Osborne
• French Horn: Tyler Bjerke, Jill Welsheimer
• Trumpet 1:Ben Banas
• Trumpet 2: Calvin Haupt
• Trombone/Tuba: Ethan Hart
• Percusion: Jim Cosby
• Guitar: Anthony D’Errico
• Violin 1: Rebekah Stratton, Christine Larson
• Violin 2: Janice Nieves, Alison DePaola
• Keyboard: Stephanie Carlock

Cast

• Maria Rainer, A Postulant at Nonnberg Abbey: Jillian Victoria
• The Mother Abbess: Marji Eldreth
• Sister Berthe, Mistress of Novices: Justine Quirk
• Sister Margarita. Mistress of Postulants: Patricia Egner
• Sister Sophia: Cyndie kudrewicz
• Captain Georg von Trapp: Joseph Mannherz
• Franz, the butler: Brett Pearson
• Frau Schmidt, the housekeeper: Jill Welsheimer
• Leisl: Christy Wyatt
• Freiedrich: Tyler Heiss (8/13, 8/19, 8/21 and 8/27 Performances)
• Cody Palmer (8/14, 8/20, 8/26 and 8/28 Performances)
• Louisa: Angela Preziuso
• Kurt: Ned Way (8/13, 8/19, 8/21 and 8/27 Performances)
• Silas Taylor (8/14, 8/20,8/26/and 8/28 Performances)
• Brigita: Jillian VanLandeghem (8/13, 8/19, 8/21 and 8/28 Performances)
• Selah Latshaw (8/14, 8/20, 8/26 and 8/28 Performances)
• Marta: Joslyn Moore (8/13, 8/19, 8/21 and 8/27 Performances)
• Cosette Latshaw (8/14, 8/20, 8/26 and 8/28 Performances)
• Gretl: Marin Herrick (8/13, 8/19, 8/21 and 8/27 Performances)
• Caitlin White (8/14, 8/20, 8/26 and 8/28 Performances)
• Rolph Gruber: Chad Michael Jervis
• Elsa Schraeder: Amy Dolan
• Max Detweiler: Ted Cregger
• Herr Zeller: Mike Ware
• Baron Elberfeld: Joseph Rowland
• Baroness Elberfeld Serenity Rowland
• A New Postulant: Charris Latshaw
• Ensemble:Tyler Bristow, Amanda DeFilippis, Terrie Goins, Brandon Gorin, Jhon Haynes, Samantha Kaesehagen, Nina Krauss, Charis Latshaw, Rebekah Latshaw, Chris Malafronti, Emily Malafronti, David Maupin, Steven Maupin, Sondra Mckeever, Cailyn O’Hara, Joseph Rowland, Serenity Rowland, Mary Spacht, Laura Steimer, Molly Strayer, Judith Townsley, Nicole Travers, Mike Ware, Chris Woerner, Bailey Woodruff
• Nazi Dog #1: Oakley Motion vom Schazhaus

Disclaimer: The Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.