Bright as a sparkler, crisp as a musket shot, this “1776” is a delight

04/17/2026

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A high-angle production photo captures a joyful, lively dance sequence from a stage production of the musical 1776 at Paper Mill Playhouse. Three actors in 18th-century period costumes are positioned against a backdrop of dark, wood-paneled walls with louvered shutters. In the center, a woman with vibrant red hair styled in an updo wears a voluminous, cream-colored gown with blue and gold vertical stripes and intricate lace detailing. She is mid-spin, her wide skirt billowing out, as she holds the hand of an older man to her left. The man, portraying Benjamin Franklin, has long gray hair and wears a heavy red velvet frock coat over a gold patterned vest and white breeches. To the right, a younger man in a brown frock coat and matching breeches dances with high energy, his hands raised and one leg lifted in a spirited step. The warm stage lighting highlights the rich textures of the velvet and silk, capturing a moment of celebration and movement. — John Treacy Egan as Benjamin Franklin, Liz Leclerc as Martha Jefferson, and Will Blum as John Adams in 1776 at Paper Mill Playhouse (Photo by Evan Zimmerman for MurphyMade)

This is for informational purposes only. For medical advice or diagnosis, consult a professional. This production photo from the musical 1776 at Paper Mill Playhouse depicts a crowded, tense scene within the Continental Congress. The stage is framed by tall wooden windows and a large calendar in the background that reads June 22. In the center, two men in 18th-century attire are locked in a confrontation: one in a long lavender-blue frock coat with intricate floral embroidery looks on stoically as the other, wearing a brown velvet coat over a bright pink patterned vest and a white powdered wig, gestures emphatically with a raised finger. Surrounding them, several other men in various period costumes—including frock coats in shades of teal, gold, and burgundy—engage in frantic movement. To the left, a man in a tan vest appears to be sweeping the floor with a large broom, while to the right, others have their arms raised as if in mid-argument or dance. The backdrop features a misty, teal-toned view of trees through the windows, contrasting with the warm, focused stage lighting on the actors' expressive faces. — Edward Watts as John Dickinson, James Moye as John Hancock (CENTER), and the Company of 1776 at Paper Mill Playhouse (Photo by Evan Zimmerman for MurphyMade)

Have you ever been to a fact-based stage show where you know the outcome, yet you’re still kept in suspense up until the end? 1776, now at Millburn’s Paper Mill Playhouse, is one of those shows.

This 1969 Tony Award-winning Best Musical, with a book by Peter Stone and score by Sherman Edwards, tells the story of the creation of the Declaration of Independence. Most school history books give the bare bones: Virginian Thomas Jefferson wrote it; Boston’s John Adams and Philadelphia’s Benjamin Franklin supported it, and Congress approved it on July 4, 1776.

What makes Edwards and Stone’s show different is that it reveals the political struggle to achieve the unanimous vote of all 13 colonies necessary for ratification. And it also reveals the Founding Fathers as humans, flawed and emotional and not always unified, but each in their own way capable of greatness.

Chief among these is Adams, given a puckish portrayal by Will Blum. Blum’s Adams is the type of man who, convinced of the rightness of his beliefs, is exasperated that everyone else does not go along with him. He finds solace in corresponding with his wife Abigail (Elena Shaddow).

Adams’ main nemesis is John Dickinson of Philadelphia (Edward Watts), a conservative businessman who places his faith in reconciliation with King George III. Dickinson and his toady, Judge James Wilson, prevent Dr. Benjamin Franklin (John Treacy Egan) from putting Pennsylvania in the pro-independence camp.

To move things along, Franklin flatters Virginia’s Richard Henry Lee into getting explicit instructions from his legislature to support independence so that he and not Adams becomes the face of the cause in Congress. Once Virginia’s proposal is accepted, Congress opens debate. When the question is called, Dickinson moves that any motion on independence must be adopted by unanimous vote. When that condition is adopted, Adams moves to postpone the vote until a formal declaration be adopted, to state clearly the colonies’ reasons for their actions.

Thomas Jefferson (Michael Burrell) is cornered by Adams into writing the Declaration. But Jefferson cannot find inspiration until Adams brings Martha Jefferson to Philadelphia.

This wide-angle production shot from 1776 at Paper Mill Playhouse depicts a pivotal moment as the ensemble gathers for the signing of the Declaration of Independence. The stage is set with dark, architectural wooden pillars and large windows that reveal a serene, teal-colored sky. A large central calendar now reads July 4. Nearly twenty actors in ornate 18th-century frock coats—ranging in color from deep crimson and forest green to mustard gold and lavender—are spread across the stage. In the center, a group is huddled around a large table draped in green cloth, where two men hold up a long parchment scroll. Other characters are seated at smaller side tables or stand in contemplative poses, creating a sense of solemnity and historic weight. The lighting is bright and even, highlighting the collective focus of the group as they finalize the nation's founding document. — The Company of 1776 at Paper Mill Playhouse (Photo by Evan Zimmerman for MurphyMade)

Once the declaration is put before Congress, another problem arises. Jefferson has made reference to slavery as one of the evils King George has imposed on the colonies. But Jefferson’s refusal to delete it causes South Carolina’s Edward Rutledge (Jonathan Young) to pull out of Congress, taking North Carolina and Georgia with him.

Director Mark S. Hoebee pulls out all the stops with his large, talented cast. His Congress is not a dry debating society but a gathering of proud, opinionated, passionate men feeling their way towards doing something never before done. And their women, represented by Abigail Adams and Martha Jefferson, are more than equal to the task of bringing out the best in their men through their support and inspiration.

The cast rises to the occasion. Aside from the main players — Adams, Franklin, Jefferson, Dickinson, Rutledge, and Abigail — the actors create vivid portraits of every character, usually through Sherman Edwards’ magnificent score, his only one for Broadway. Exasperatingly riding herd over this unruly Congress while trying to remain fair is James Moye as John Hancock. The easily flattered, malleable Richard Henry Lee is fleshed out by Bryant Martin in “The Lees of Old Virginia”. Liz Leclerc’s Martha Jefferson explains how her Thomas wooed and won her in “He Plays the Violin”, a song which, in its flirtatious implications, is both prim and rapturous. Dickinson and his conciliatory rightists stake out their viewpoint in “Cool, Cool, Considerate Men”. Rutledge takes Congress through the hellscape of the slave trade in “Molasses to Rum”. Washington’s courier (Praise Oranika) poignantly recounts the human cost of war in the elegiac “Momma, Look Sharp”. The relationship, the loving partnership, between the Adamses is realized in the songs “Till Then” and “Yours, Yours, Yours”, with lyrics based on their actual correspondence at the time.

This dramatic production photo from 1776 at Paper Mill Playhouse captures a high-energy moment in the Continental Congress. The focal point is an actor standing boldly atop a long, green-clothed table in the center of the stage. He wears a striking teal-blue velvet frock coat over a highly decorative silver and blue floral vest, topped with a tall, powdered white wig. With an intense, wide-mouthed expression, he holds a long white cane diagonally across his body while gesturing outward with his other hand. Below him, several other actors in 18th-century attire react to his outburst; some sit at smaller tables with quills and papers, looking contemplative or weary, while others stand in the shadows. In the background, a large tally board displays the names of the colonies under columns for "Yea," "Abstain," and "Nay." The scene is lit with warm, amber tones that highlight the dramatic tension and the rich textures of the period costumes. — Jonathan Young as Edward Rutledge and the Company of 1776 at Paper Mill Playhouse (Photo by Evan Zimmerman for MurphyMade)

Paper Mill’s design team comes through in fine form, with sets, lighting, costuming, and sound bringing to life the world of Congress during the hot Philadelphia summer of 1776. Jillian Zack’s orchestra is more than up to the task of bringing the score to life, from the first drum beats of the overture to the tolling bell of the finale.

Brimming with wit and music, 1776 reminds us of the sheer exuberant lust for living that was a hallmark of our fledgling nation. Even though its conclusion is foregone, this production still takes you on an emotional roller coaster ride right up to the end. I cannot more strongly urge you to attend this most excellent production of 1776!

1776 is presented by Paper Mill Playhouse in Millburn through May 2, 2026. For more information or to purchase tickets, go to papermill.org.