Theater in the US can show us the way forward while events like the abolishing of the right to an abortion change the way we see drama unfold on stages.
Theater is a living, breathing creative art. Even if a production remains largely the same from one performance to the next, its meaning can change instantly. “1776” was produced by the American Repertory Theater in Massachusetts. This Broadway-bound revival features a cast of historical male figures who are all represented by female, nonbinary, and transgender actors. The production was a fresh interpretation of a musical that is quintessentially American. “I hear the bells ringing out. I hear the cannons’ roar. I see Americans — all Americans — free forevermore!” sings Crystal Lucas-Perry, the actress portraying John Adams. The lyric rang out with heartening intensity, as the delegates to the Continental Congress argued over the moral issues of nation-building, such as whether the Declaration should denunciate slavery. The convergence was brutally ironic since it brought together a renowned institution’s radical act and a time-honored theatrical work.
Journalist Peter Marks realized that the musical he saw occurred on a seemingly different planet. Similar to “Hamilton,” this cast of many backgrounds embraced a period of American history that had all but written them out, in this case, the original version of “1776,” performed in 1969. How exciting it was to see them finally do it in this allegedly more advanced age. Marks was forced to reconsider in the wake of Roe v. Wade being overturned. Were the cast’s words and songs more hollow than they had been two and a half weeks prior?
Theater is an art that is about freedom. As many would have it, its support for inclusivity is more than just a show of wokeness or virtue signaling. Simply, theater is becoming more relevant. It is creating a sea of possibilities.
Theater is a living, breathing creative art. Even if a production remains largely the same from one performance to the next, its meaning can change instantly. “1776” was produced by the American Repertory Theater in Massachusetts. This Broadway-bound revival features a cast of historical male figures who are all represented by female, nonbinary, and transgender actors. The production was a fresh interpretation of a musical that is quintessentially American. “I hear the bells ringing out. I hear the cannons’ roar. I see Americans — all Americans — free forevermore!” sings Crystal Lucas-Perry, the actress portraying John Adams. The lyric rang out with heartening intensity, as the delegates to the Continental Congress argued over the moral issues of nation-building, such as whether the Declaration should denunciate slavery. The convergence was brutally ironic since it brought together a renowned institution’s radical act and a time-honored theatrical work.
Journalist Peter Marks realized that the musical he saw occurred on a seemingly different planet. Similar to “Hamilton,” this cast of many backgrounds embraced a period of American history that had all but written them out, in this case, the original version of “1776,” performed in 1969. How exciting it was to see them finally do it in this allegedly more advanced age. Marks was forced to reconsider in the wake of Roe v. Wade being overturned. Were the cast’s words and songs more hollow than they had been two and a half weeks prior?
Theater is an art that is about freedom. As many would have it, its support for inclusivity is more than just a show of wokeness or virtue signaling. Simply, theater is becoming more relevant. It is creating a sea of possibilities.
