American Spirit

Tennessee Repertory Theatre is trumpeting its current version of 1776as a vehicle for yielding contemporary meaning out of the inner workings of the Continental Congress and the writing of the Declaration of Independence. All I can see is the same highly entertaining musical play—but without the powdered wigs, colonial regalia and elaborate period settings. Gary Hoff’s scaled-back set nonetheless bespeaks authenticity in spirit, and Trish Clark’s costumes hint at the late 18th century while also mixing in modern-day fashion—most noticeably when the Founding Fathers are, in some cases, sporting gym shoes. Once your eyes adjust and you accept that you’ll be missing out on the typical, albeit highly theatrical, trappings of this famous period piece, it’s on to what is a thoroughly engrossing effort. Some theater-goers who’ve watched David Alford perform for the past decade or so never knew he could sing, but he has a resounding baritone that he nudges easily into tenor register when he has to. He captures all of firebrand John Adams’ intensity, musically and otherwise, and while he still needs to remember to plant his feet firmly when he works some of his shtick, there is no doubting that his casting is perfect in this heroic role. Some theater-goers who’ve watched David Alford perform for the past decade or so never knew he could sing, but he has a resounding baritone that he nudges easily into tenor register when he has to. He captures all of firebrand John Adams’ intensity, musically and otherwise, and while he still needs to remember to plant his feet firmly when he works some of his shtick, there is no doubting that his casting is perfect in this heroic role. Even better is Shelean Newman, who, as Abigail Adams, gives forth with what has to be one of the finest voices that ever graced any production of this show. Alone or in her duets with Alford, Newman’s vocals shine as brightly as a Fourth of July fireworks display. Director René Copeland exhibits her talent for marshaling large crowds across a stage, and she wrings excellence out of experienced players like Henry Haggard (the essential Benjamin Franklin), Jeff Boyet (a virile Thomas Jefferson), Chip Arnold, Bobby Wyckoff and Sam Whited, as well as relative newcomers like Patrick Waller, who enlivens Act 1 with an amusing delivery of “The Lees of Old Virginia.” Among a strong supporting cast, Matt Logan makes his Rep debut with a passionate, stage-stomping rendering of “Molasses to Rum,” offering daring commentary on the nature of critical compromise that helped to launch the American Revolution. Charlene Ava, as Martha Jefferson, brings an interesting vocal style to “He Plays the Violin,” though her choreography reads haphazardly. 1776 is one of the best-written musicals of all time, yet unique in that Peter Stone’s book carries much of the evening on its own. The characters are extraordinarily vivid, and the history lesson is engagingly dramatic. The Sherman Edwards score, relegated to an economical 13 numbers, blends baroque stylings with a keen sense of operetta. The lyrics are tight and witty as well. Musical director Paul Carrol Binkley commandeers a small but efficient combo and brings forth spare but consistently tasteful arrangements. He even strums guitar and adds a little percussion in between wielding the baton. In bringing to bear a ton of talent and applying it to undeniably great material, the Rep experiences its finest hour of the recent era. Inequitable ‘Equus’ ACT I’s production of Equus makes a serious attempt to parse through the challenging intellectual and psychological intricacies of Peter Shaffer’s celebrated contemporary play. Matthew Gregory Davis makes his company debut as director, and his mounting is technically competent if uninspired. John Devine assumes the daunting role of Martin Dysart, the psychiatrist charged with unraveling the emotional torments of a 17-year-old lad who has committed the shocking act of blinding a stableful of horses. Devine’s singularly quirky performance often resounds with verbal clarity, yet it’s also lacking the kind of dynamic stage movement that might have helped vary the sense of pacing. Furthermore, Davis doesn’t do anything remarkable with the play’s distinctive “equine chorus,” the theatrical hallmark of other productions. Brian Berheide, as the youth facing huge spiritual and sexual issues, offers a usually affecting performance, and Debi Shinners and Cara McFall contribute capable support. Shaffer’s too fine a writer for any smart audience not to derive insights from his well-crafted, provocative words, but by curtain’s fall this production doesn’t shed enough light on the play’s multilayered meanings. Equuscontinues at the Darkhorse Theater through Oct. 29.