I had the great pleasure of seeing McLean Community Players’ 1776 on their opening weekend. With music and lyrics by Sherman Edwards and a book by Peter Stone, the work tells of the momentous months-long Second Continental Congress that convened in Philadelphia at Independence Hall, where the del egates argued until they ultimately created and signed the Declaration of Independence. The production is a perfect pick to run during this Semiquincentennial anniversary of our nation’s sovereignty. Director Cody Boehm does a brilliant job infusing the existing text with subtle nods and accentuations to point out the hypocrisy and injustices of the current state of our world, while still celebrating the collaboration, sacrifice, and true — though biased — desire to create a free, fair, and unified nation.  In the program’s Director’s Notes, Boehm wrote of her desire for “audience members to be able to look on to the stage and see themselves represented in the room that was previously exclusive to white men.” She accomplishes this with nontraditional casting, creating a diverse cast and further highlighting the moral inconsistency and disparity of the country’s founding, without having to say it out loud. Scene from ‘1776.’ Photo by Matt Liptak. Leading the musical and mayhem between the delegates is Doug Marcks as the controversial John Adams. Marcks has the comedy and acting chops required to drive the energy of the piece and convey the tremendous stress and sense of moral obligation that Adams felt about securing the colonies’ autonomy from Britain. Adams tolerates his fellow delegates’ boring rhetoric and uninspired ideas in “Sit Down, John,” and Marcks accurately illustrates the persistence and bluntness that Adams is known for. Playing Adams’ wife, Abigail, is Sara Watson, who radiates confidence and is well-paired with Marcks. Their scenes and songs are a range of emotions, true to a solid marriage, with John leaning on Abigail for support as a political sounding board, while also engaging in witty banter over household goods. Marcks and Watson’s duets are lovely, especially the touching “Yours, Yours, Yours,” which accentuates Watson’s clear tone and truly conveys the beautiful bond the couple has. The infamously promiscuous but widely respected Benjamin Franklin (Brian Lyons-Burke) brings a bit of balance to John Adams’ intensity and frustration. Lyons-Burke gives Franklin a charming and sage presence that serves as a balm to soothe Adams’ anxiety.  Michael Barret Jones is the staunchly bigoted John Dickinson, who leads the front of the Southern states’ resistance to independence. Jones’ second act opening song, “Cool, Considerate Men,” drips of arrogance and opulence, with coordinated and rightly structured movement by Caroline Scarborough. As every story must have an antagonist, Dickinson is it, and Jones leans into the role, creating a villain you love to hate. Scene from ‘1776.’ Photo by Matt Liptak. My favorite moment of the show was Ariel Friendly, as Richard Henry Lee, singing “Lees of Old Virginia.” Friendly plays the exuberant Lee on full blast with a Southern flair, and has the vocal and dancing prowess to boot. The audience laughed and cheered throughout the number, which served as a delightful break from the tense political gravity of the plot. Hana Tawil as Martha Jefferson was another stand-out, and a joyful respite from the stodgy, bickering men. Tawil beautifully sings “He Plays the Violin,” and is joined by Marcks’ Adams and Lyons-Burke’s Franklin as she twirls and waltzes, lithely executing Scarborough’s choreography. Serving as a somber reminder of the pain and loss of the war that continued to wage during the debate (and the one that rages today), the heart-breaking “Momma Look Sharp” was hauntingly beautiful, led by Emily Kennedy (Courier), with Riley Hogan (Leather Apron), Max Newman (Secretary), and Rene “Kieth” Flores (McNair) providing soulful harmonies. Kudos to musical director Matthew Scarborough, not only for crafting the voices, but also for conducting the live orchestra and bringing the score to life. I have seen 1776 many times before and, while I have always enjoyed the music and subtle humor, I have never had such a hilariously fun — and touching — time as I did at McLean Community Players’ production. This ensemble was full of talent, and the production quality was well done. Boehm manages to keep the dialogue-heavy musical at a lively pace that never drags or compels the audience to sneak a peek at the program to see how many songs are left, an impressive feat for a three-hour-long event. Ultimately, Boehm’s directorial choices allow this classic work to cast a poignant reflection on our own era. By emphasizing the enduring relevance of these foundational struggles, she reminds us that the pursuit of liberty and justice remains as urgent today as it was in 1776, making this production a timely and powerful mirror of our world.  Running Time: Approximately three hours, with one 15-minute intermission. 1776 plays through August 2nd, 2026, presented by McLean Community Players performing at The Alden Theatre, located at 1234 Ingleside Ave, McLean, VA. Tickets to reserve designated seating cost $25 for adults, $20 for seniors 65+ and students, and $18 for McLean Tax District Residents and groups of 10 or more. Tickets can be purchased at the door before the show, online, or by emailing [email protected].  CAST: John Adams (MA): Doug Marcks; Benjamin Franklin (PA): Brian Lyons-Burke; John Dickinson (PA): Michael Barret Jones; Edward Rutledge (SC): Richard Jacobson; Thomas Jefferson (VA): Ashley Promisel; Richard Henry Lee (VA): Ariel Friendly; Abigail Adams: Sara Watson; Martha Jefferson: Hana Tawil; Roger Sherman (CT): Cara Stankewick; Robert Livingston (NY): Andrew Edwards; Courier: Emily Kennedy; John Hancock (MA) – Allen McRae; Dr. Josiah Bartlett (NH): Michael Blinde; Lewis Morris (NY): Michael Elmore; Rev. John Witherspoon (NJ): Anastasia Brunk; James Wilson (PA): Nathaniel McCay; Caesar Rodney (DE): Brian Dittmeier; Col. Thomas McKean (DE): Jeff Elmore; George Read (DE)/Soldier: Drew Wright; Samuel Chase (MD): Cherelle Matthews; Joseph Hewes (NC): Victor Paduchak; Dr. Lyman Hall (GA): Loren Blinde; Charles Thomson, Secretary: Max Newman; Andrew McNair: Rene “Kieth” Flores; Leather Apron/Painter: Riley Hogan PRODUCTION TEAM: Director: Cody Boehm; Producers: Allison Gray-Mendes, Adam Renner, Karen Veltri; Music Director: Matthew Scarborough; Choreographer: Caroline Scarborough; Associate Director: Melanie Campbell; Stage Managers: Meg Webster, Beck Webster; Costumer: Elaina Reck; Props Designers: Ramah Johnson, Griffin Voltmann; Lighting Designer: Sam Jensen; Sound Designer: Weston Weber; Set Designer/Lead Builder: Julie Fischer; Set Construction: Julie Fischer, Adam Renner, Robin Renner, Shah Choudhury, Patrick Hogan, Matthew Trowbridge, TJ Thompson, Mark Lacy, Will Schmidt; Set Painters: Allison Gray-Mendes, Max Newman, Drew Wright, Miranda Lacy, Collin Agee, Melody Agee, Kristin Parody, Cody Boehm, Preston Grover, Mark Gray-Mendes; Set Dressing: Beck Webster, Cody Boehm, Meg Webster; Hair/Makeup Designer: Brittany Marie Wasikowski; Ad Sales: Jenny Levy; House Manager: Mary Ellen DeFrancesco; Spotlight Operator: Shawna Abston; Sound Operator: Will Schmidt; Photographers: Robin Lewis, Matt Liptak; Assistant Stage Managers: Eliza Young, TJ Thompson, Shannon Hardy, Elliot Moussavi; Rigging Operator: Claire Tse ORCHESTRA: Flute, Piccolo: Teresa Harris; Flute, Clarinet: Justin Baughman; Oboe, English Horn: Jane Hughes; Bassoon: William Jokela; Trumpet: Jeff Menzin; Horn: Jackie Owen; Trombone: Christina Behe; Trombone: Ben Greniven; Violin: Serena Sela; Viola: Rebekah Greniven; Cello: Pam Clem; Bass: Bobby LaRose; Percussion: Laura Moniuszko; Keyboard/Conductor: Matthew Scarborough; Trumpet (select performances): Chris Andersen; Horn (select performances): Bradley Johnson; Violin (select performances): Sarah Connelly; Viola (select performances): Christopher Tillman; Bass (select performances): Theresa Pfeifer; Bass (select performances): Andre Cutair; Bass (select performances): James Peterson ...read more read less