Salutes to ‘1776’

I read Michael Phillips’ theater reviews regularly and often don’t agree with his views. But never as strongly as with his review of “1776” (“Birth of a Nation, in Song,” Sept. 7). It’s very clear that Phillips has an extreme dislike for the show itself, and this prejudiced his view of this production.

“1776” is a very good choice for Reprise!--basically one set, no costume changes--perfect for concert-style presentations. Personally I feel it’s the best production they’ve mounted since their very first, “Promises, Promises.” I disagree with Phillips’ assertion that “you’re stuck with Peter Stone’s filibuster of a libretto.” I think Stone produced one of the best books ever written for a musical.

I know Phillips reviewed in several other cities before Los Angeles, so his “familiarity” with “1776” could be attributed to that fact. However, there hasn’t been a professional production in Los Angeles since Long Beach Civic Light Opera mounted one in 1990. There have been more L.A. area productions of “The Most Happy Fella,” “Three Penny Opera” and “The Boys From Syracuse,” other Reprise! offerings, if you want to talk “familiarity.”

ROB STEVENS

Hollywood

*

While many interpreters have hung their tricorn hats securely on John Adams’ famous self-description, “I’m obnoxious and disliked,” Roger Rees fleshes out the role, at times choking with insecurity, touchingly vulnerable and adding more than a hint of romance Phillips’ dismissed as “Boston’s resident prim upstart.”

It’s too bad Phillips wasted so much of his “review” rehashing the historical storyline--surprise, they sign the Declaration!--and finding fault with both book and music, while neglecting to report that the show was good enough to receive the 1969 Tony for best musical.

The Reprise! series began five short years ago with little more than staged readings. “1776” can boast of 26 actors off book, in full costume and wigs, with stage movement and even choreography, backed by a 14-piece orchestra. The production team had only 12 days of rehearsal--a dauntingly short time to mount a nearly three-hour musical.

I’m glad they made such a colossal effort, and so, I understand, are the capacity audiences of its all-too brief run.

LUCY CHASE WILLIAMS

Glendale