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In this process, we hope that you will see the events that took place in Independence Hall in new ways.Īs the professional theater company at Harvard University, the A.R.T. We invite you, the audience, to hold multiple realities at the same time: both this historical narrative and the identities of this company of artists alive in 2022. With the support of the estates of Sherman Edwards and Peter Stone, this production features an extraordinary cast of performers who reflect multiple representations of race, ethnicity, and gender, and who identify as female, trans, and non-binary. Page and Associate Director Brisa Areli Muñoz. This project has centered collaboration with Co-Director and Choreographer Jeffrey L. These questions also resonate deeply with Harvard & the Legacy of Slavery, the landmark report which the university recently released to the public. In our creative process, we asked: How can we hold history as a predicament versus an affirming myth? How does an honest reckoning with our past help us move forward together? I hope these questions will be alive for you as you experience our production.

One of A.R.T.’s core values is inquiry, and working on this production has catalyzed a journey of learning and growth. The reason why I do theater is to ask big questions. In dramatizing the events surrounding the writing of the Declaration of Independence, 1776 points to the contradictions built into our nation’s founding-the ideals of equality and liberty celebrated and heralded in a document that achieved unanimous endorsement only after the anti-slavery clause in Jefferson’s original draft was edited out. But as soon as I read the script, I understood that this musical could speak powerfully and directly to our lives today. When 1776 was first suggested to me, I only knew it as the show that beat out HAIR at the 1969 Tony Awards for Best Musical. Terrie and Bradley Bloom Artistic Director Funnier, though, is when they just arrive in Palm Beach, rife with silly rules and regulations, and are promptly arrested for whistling at bikini-clad women on the beach.A.R.T. Maybe screenwriters Mark Feldberg and Mitchell Klebanoff thought it was hysterical to have Albert (Ralph Bellamy) wake up from a deep sleep screaming at his first sight of the disorderlies.

Enter our boys (Damon “Kool Rock-Ski” Wimbley, Darren “The Human Beat Box” Robinson, and Mark “Prince Markie Dee” Morales), plucked from duty at the nation’s worst nursing home. His only hope is to kill off his rich, ailing Uncle Albert, but indirectly. How these bumbling orderlies get to Palm Beach in the first place is the doing of Winslow Lowry (Anthony Geary, formerly Luke on TV’s General Hospital), a compulsive gambler who owes a $640,000 debt. It’s a cross-racial, cross-cultural clash of magnitude, yet the premise is undersold. They still live in his mansion and attend his pool parties with the snooty upper crust. OK, so they’re orderlies to an invalid old man.

This heavyweight trio, fond of slapping each other’s faces when the going gets tough, isn’t allowed to be silly enough.Īll the way through, this slapstick comedy misses golden opportunities inherent in the fact that these three huge streetwise black dudes are put into white Palm Beach society. The idea of Disorderlies was to turn the Fat Boys, an ace rap group from Brooklyn, into a reconstituted version of The Three Stooges.

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