Making History at Music Guild, Moline: “1776” for America 250
I am old enough to remember America’s Bicentennial, on July 4, 1976. I was 12 years old, living in the Milwaukee suburb of Whitefish Bay, Wis., and while I don’t recall much about the parade we had, I know I got to play drums in a drum-and-fife corps reenactment, and we had a big celebration in a neighborhood park.
Less than four years later, I played piano in my first musical, in high school, Rodgers & Hammerstein’s gorgeous “Carousel,” and I thoroughly got the musical theater bug that’s never left me. In spring 1986 (40 years ago already!), I got to play Rep. Josiah Bartlett of New Hampshire in Oberlin College’s production of “1776,” which we repeated during our commencement weekend, when I graduated with a degree in music.
Michael Schmidt (not in costume) plays Col. McKean of Delaware in the current production.
In my 20s, I worshipped Thomas Jefferson (1743-1826) – author of the Declaration of Independence (which the musical dramatizes), who was a super-achiever, seemed to live several lifetimes, and like me, was shy, reserved and a musician (him violin and me piano, which the show also highlights).
The nation’s third president, he famously died on the 50th anniversary of the Declaration, July 4, 1826, the same day as John Adams (the musical’s protagonist and hero), but while “1776” notes that Jefferson declared he would release his slaves, it makes no mention of the infamous fact that he had six children with his slave, Sally Hemings, who was the half-sister of his late wife Martha (who had the same father, and died in 1782, at 33, the same age Jefferson penned the Declaration).
Kevin Pieper and his wife Valeree in the 1992 production, as Thomas and Martha Jefferson.
Fast forward four decades, and I am once again in the pit for “1776,” having the thrill of a lifetime being rehearsal accompanist and assistant music director for the phenomenal current Music Guild production, which runs June 12-21 (during America’s 250th anniversary summer), at Prospect Park Theater, 1584 34th Ave., Moline.
“1776” (which featured William Daniels as Adams in the original stage version and film) has a book by Peter Stone, with music and lyrics by Sherman Edwards.
Matthew Call as John Adams with Hillary Erb as Martha Jefferson.
The seminal event in American history blazes to vivid life in this most unconventional of Broadway hits. 1776 puts a human face on the pages of history as we see the men behind the national icons: proud, frightened, uncertain, irritable, charming, often petty and ultimately noble figures, determined to do the right thing for a fledgling nation.
It’s the summer of 1776, and the nation is ready to declare independence… if only our founding fathers can agree to do it! 1776 follows John Adams of Massachusetts, Benjamin Franklin of Pennsylvania and Thomas Jefferson of Virginia as they attempt to convince the members of the Second Continental Congress to vote for independence from the shackles of the British monarchy by signing the Declaration of Independence.
A scene from “1776,” directed by Kathryn Weber, opening June 12, at Prospect Park Theater, Moline.
I recently asked some of the main creatives behind our production to offer their thoughts on what this show has meant to them. A couple have had key roles in previous productions (Music Guild has done it in 1974 and 1992).
Kathryn Weber (Stage Director):
“When celebrating an important milestone like the 250th anniversary, it’s important to go back to our roots and learn from our past. In modern times we have the tendency to take for granted what we have struggled for and achieved as givens because many of us have never lived without certain rights and experiences. ‘1776’ is a reminder that freedom, while a natural right, is something that must be fought for. It’s also a reminder that democracy is an action, not something that runs itself. The idea of taking action even in the face of immense hurdles is a throughline throughout 1776 and has many applications to our lives no matter the year.
Director Kathryn Weber
“My favorite part about directing this show is that I get to build this show with some of the best performers in the Quad Cities. When I give the cast or staff an idea, they run with it and make it better than I even imagined. Every rehearsal has been a joy to go to. When I have a bad day at work, I know that when I get to the theater, I’ll be surrounded by people who want to make this show amazing, but who also want to have a great time doing it, so we’re constantly laughing throughout the rehearsals. This cast, crew, and staff make my job easy and fun.
“As a social studies teacher, there wasn’t much I didn’t know about this time period and story already. But this show isn’t a one-to-one retelling, it is historical fiction, so I was instead focusing on how I could bring historical realness to the show while still letting it be what it is. Throughout the process, I would do mini history lessons to explain to the cast why calling the American fight a ‘revolution’ was a giant risk or about how calling someone/something ‘the Devil’ was not a casual insult, but an inflammatory statement. The more I could provide context on the emotions and beliefs of that time period the better the cast performance got because they had foundation and could build off it.”
Rachel Vickers (Abigail Adams):
“This is one of my favorite musicals of all time. As long as I can remember, my family has watched the film every 4th of July (and often other times throughout the year), so Abigail has always been a ‘bucket list role’ for me.
“I knew when I moved back to the QC in 2013 that if I wanted to be in this show, I would have to wait for the 250th anniversary for it to come around, and it did! It’s been a long time coming and I couldn’t be more ecstatic with this cast and crew.
Rachel Vickers and Matthew Call as Abigail and John Adams.
“Abigail is limited in how she interacts with others in the show, so how lucky for me that I get to hang out with Matthew Call’s delightful John Adams! He’s so much fun to act with, and I can’t wait for people to see what he’s doing in the role. I have played every single role by myself in the car and in my bedroom.
“It’s so easy in America for us to idealize these men, and to try and make their actions and motivations fit our own agendas. I hope this show helps our audience remember that these were just men. Messy, flawed, annoying, kind, thoughtful, hypocritical, and much more. The history of our country isn’t shiny or clean, and that’s what makes it human.”
Bob Manasco (Ben Franklin):
“1776 has been my favorite musical for as long as I can remember. I grew up watching the movie with my mom, excitedly attended QCMG’s production in the early ’90s, got to see the ’97 Broadway revival, and recently enjoyed the gender-bent national tour.
“I’ve found myself often thinking about what these men must have been feeling 250 years ago as they wrestled with disagreements, competing interests, and an uncertain and frightening future. What’s most striking is how relevant all of this still feels today. As the show points out, in a democracy, people who disagree still have to find a way to live and work together. “Compromise” should not be the dirty word we’ve turned it into.
Bob Manasco plays Ben Franklin in the new Music Guild production.
“Franklin is a fascinating character to play because he was such a fascinating person in real life! We all learn about his famous kite experiment in school, but there was so much more to the man than that. In the show, he’s witty, irreverent, controversial, bawdy, jovial, and occasionally quite passionate…just like the historical Franklin actually was.
“Much of the show is centered on serious political debate, but Franklin is often written to bring humor and levity to the room. I get to participate in some wonderfully fun musical moments, and then turn around and be part of the conversations that shaped the founding of the nation.
“As a history lover, I especially appreciate the elevated language of the script, even if it makes it more difficult to memorize. Much of the dialogue is drawn from the founders’ actual writings, and there is something remarkable about speaking words and ideas that were actually written and spoken by the people who lived through these events.
Bob Manasco (left), Kevin Pieper and Matthew Call in “1776.”
“I’ve been fortunate enough to perform in 1776 twice before. As a young man I played Edward Rutledge at Corn Stock Theatre in Peoria. It was an outdoor production, performed during one of the hottest Julys in recent memory, with wigs, brocade coats, and all the other period costumes. I think I lost 20 pounds in sweat during that run!
“I also had the opportunity to play John Adams at Community Players Theatre in Bloomington, IL, which was one of the best experiences of my life. Both roles gave me a chance to share this story from very different perspectives.
Matthew Call (left) as Adams, with Brent Behrens and Jake Walker in “1776.”
“Now, coming back to the show as Benjamin Franklin, it feels a bit like closing a circle. I’m older than I was in those earlier productions, and that brings a different perspective to both the character and the story. Having previously played two other signers of the Declaration on opposing sides of the argument, it’s fascinating to revisit these events through Franklin’s eyes and discover even more layers in a musical I’ve loved for so many years.
“All of our cast members have been researching the historical figures we’re portraying on stage. In reading biographies and learning more about Franklin, I discovered several things I hadn’t known before. He was actually born in Boston, which makes one of his jokes in the show about John Adams even funnier. I also learned that he was not a supporter of independence until 1775: before Lexington and Concord, his ultimate goal was just to get colonial representation in Parliament. And like many of the founders, he had some difficult contradictions in his life, including having owned slaves when he was younger.
Mark McGinn (who is Hopkins in the current production) as Thomson and his father Jack McGinn as Leather Apron in the 1992 version of “1776.”
“We often either place historical figures on pedestals or dismiss them entirely because of their flaws. The reality is that they were human beings, capable of both noble aspirations and serious moral failings, just like all of us. There’s a line Franklin has in the show that captures this perfectly: ‘What will [posterity] think we were? Demigods? We’re men, no more, no less.’ The more I’ve learned about the people behind the Declaration, the more true that line seems.”
Michael Schmidt (Thomas McKean of Delaware):
“Music Guild did the show twice previously, I was in them and was hoping to be in this third one, which I am. The 1974 production was particularly special since it was the first of nearly one-hundred Guild productions that I’ve been in, directed, designed, or produced, and it was when I met my wife Jane who was the assistant director.
“All three roles that I’ve been cast in have terrific lines to deliver. In the first show I was cast as Stephen Hopkins who is able to speak truth in the humorous way that only a lovable lush can. In the 1992 show I was Ben Franklin, whose combination of humor and significantly serious observations was a wonderful opportunity for an actor. In this production as Thomas McKean, I get to harass a fellow delegate from Delaware who in real life is one of my nephews, which is a lot of fun for me!
Mike Schmidt as Ben Franklin in the 1992 Guild production.
“This one is special because the first Guild production was only two years prior to the nation’s Bicentennial of the Declaration of Independence, and this one is on the way celebrating the 250th. Both of those aspects are important to me since I spent most of my career teaching United States history. As a young teacher, although I already had a working concept of the creation of the Declaration, being in the 1974 production gave me many insights and details of the deliberations of the Second Continental Congress that I was able to bring to the classroom.”
Kevin Pieper (Richard Henry Lee of Virginia):
“I have been very fond of 1776 since I was in the 1992 cast at QCMG and was excited to learn Guild was producing it during the 250th anniversary of the signing of our countries Declaration of Independence. I immediately hoped to be a part of the production. I enjoy the 4th of July celebrations every year and love parades, marching bands, fireworks and all the spectacle that comes with it. This year, being the 250th celebration, an incredible and wonderful milestone, makes it all the more special.
“As Richard Henry Lee, I have (I think) the most fun song to perform in the show! Given the serious nature of the main themes of 1776, to be able to cut loose and have a ball with Bob (Ben Franklin) and Matt (John Adams) is a real hoot. It takes the wind out of me, but I enjoy every second! Also, even though we have no on-stage time together, it’s great fun to watch my daughter, Hillary, from the wings while she portrays Martha.
Kevin Pieper as Richard Henry Lee in the new “1776” at Music Guild.
“I played Thomas Jefferson in QCMG’s 1992 production of 1776. It was one of a few times where I have had the opportunity to play opposite my wife, Valeree, who was Martha Jefferson.
“While a musical play will always take creative license with the material, I have been excited to learn just how much of the script of the show has been taken from actual writings of the original congressional participants.
“For example, the ‘Lee Resolution’ I read to the Congress in Act 1, Scene 3 is word for word from part one of three parts of the original resolution introduced in Congress by Lee on June 7th, 1776. That makes the moment very special for me. The first part of the resolution was officially adopted by Congress on July 2nd, 1776. As an aside, John Adams believed July 2nd would most likely be our Independence Day.”
Dave Blakey (Producer):
“When I found out that Kathryn was directing and this being her first time directing at Guild, I wanted to do what I could to help her have a good first experience. With this being year 250, it gives all of us involved in this show a moment to consider how daring our forefathers truly were to push toward independence.
“As producer, I am enjoying watching the pieces of this show come together. The music, blocking, dance, lights, sound, props, and costumes blend together to make this a special show. Also, the people on and off stage are talented and genuinely nice people who have one main goal: to do their very best!
Producer Dave Blakey was music director for “1776” in 1992 at Music Guild.
“I was music director for the 1992 Music Guild show and it has always been a special show for me as it was my first collaboration with Bill Marsoun as director. Being a part of this has brought back so many good memories with that cast, crew and orchestra.
“I haven’t had the opportunity, like the cast, to delve into their character history, but I am surprised as to how much I remember song and dialog wise as rehearsals have progressed. So many great lines, along with humor and seriousness of the time. These men were brave but they had to have been scared about what they were doing, especially with the strength and number of British soldiers ready to attack. They are part of our country’s history that we all have studied in school, but the reality is they were humans just like all of us.”
Jake Walker (John Dickinson of Pennsylvania):
“This is my first time being involved with this show. Truth be told, I didn’t know much about it. I was encouraged to audition by a few friends and I’m glad I did! I enjoy playing the ‘villain who has a point’ roles.
“I’ve done a deep dive into how much of this play is historically accurate. While a decent amount of it is fabricated or pulled from other historical events, I equate it to Shakespeare’s history plays. Shakespeare would never let a silly thing like the truth get in the way of telling great story!”
Jake Walker as the conservative Pennsylvania delegate John Dickinson.
In addition to the outstanding Matthew Call as the “obnoxious and disliked” Adams and Thayne Lamb as Jefferson, other leading roles here include Hillary Erb as Martha (who sings the buoyant waltz “He Plays the Violin”); Brent Behrens as the pro-slavery advocate Edward Rutledge of South Carolina (who sings the deeply uncomfortable, haunting, epic “Molasses to Rum”), and Michael van Belle as John Hancock, president of Congress (who must create some semblance of order from this chaos).
Unusual for a musical (save “The Full Monty” for example), “1776” naturally is mostly comprised of men – 24 guys and two women on stage, and it’s interesting in this production, the crew is mainly headed by women. Notably, the director and music director are female, as is the assistant director, choreographer, stage manager, set designer, costume designer and sound designer.
“1776” will be performed at 7:30 p.m. June 12, 13, 18, 19, and 20, and 2 p.m. Sundays, June 14 and 21. Tickets are $20 for adults and $15 for students, available at 309-762-6610 or qcmusicguild.com.
Matthew Call (left) as Adams and Thayne Lamb as Jefferson.
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