By David Gordon

Have you heard there’s going to be a debate on campus? Yes? You don’t think you’ll win the lottery for tickets? Don’t worry. You can attend one of the original debates, the one that took place between the members of the Second Continental Congress prior to the signing of the Declaration of Independence. This is Hofstra Entertainment’s production of Sherman Edwards’ and Peter Stone’s musical, “1776.”

Set in May, June and July of the title year, “1776,” is told from the point of view of John Adams, who is obnoxious and disliked by many of the other members, as he tries to convince them to declare independence from England. Later, he enlists Thomas Jefferson to write the actual declaration. All of your favorite historical figures are included, from Adams and Jefferson to Caesar Rodney and Richard Henry Lee.

Cast-wise, the production, directed by Sal Salerno, is a bizarre smorgasbord. They have very strong chemistry, surprisingly, yet not one person is acting in the same show, from the tiresome theatrical antics of Bob Spiotto (John Adams) to the miscast Ben Salers (Samuel Chase). Only Doug Vandewinckel (Benjamin Franklin) and sophomore Drama major Matt Mavroides (A Courier) give noticeably effective performances that belong in “1776.”

The cast sings very well, especially the two women, Jennifer Hope (Abigail Adams) and Rebecca Posteraro (Martha Jefferson). Bruce Rebold (Richard Henry Lee) grabs the audience in the palm of his hand with his delivery of “The Lees of Old Virginia,” and is never seen on stage again. The flaw of the script is that the most entertaining character disappears midway through the two-hour first act. It’s also a flaw of the script that one scene has a half hour break in between musical numbers.

Credit must be given to the cast for acting so professionally during four brief, unscheduled, weather-related power outages that plagued the Friday night performance. Audiences members felt for the technical crew, who, understandably, were significantly less collected.

Kevin Rupnik’s set, originally designed for a production at the Pittsburgh CLO, fits the John Cranford Adams Playhouse stage very well. Barbara Kirby’s costumes are period-perfect; Richard R. Green’s wig/hair design wasn’t as appealing. The colors of Edward R. F. Matthew’s striking lighting design were the most enjoyable.

Sherman Edwards’ score is catchy enough; Peter Stone’s book has charming moments, but no doubt takes a great many liberties for the same of “drama.” Casting aside, Sal Salerno’s production is solid, though, at times, not particularly inspired and very slowly paced. A show which has been known to run, by many accounts, two and a half hours, lasts slightly over three.

It’s hard for many to believe that a musical could be written about a historical event such as this, but “1776,” doesn’t stand alone. Peter Stone, the late author, won a Tony Award for his book of another seemingly bizarre musical, one based on the Titanic disaster.

“1776” is one of those musicals that any theater junkie knows and should see at least once. It’s a classic, “America’s award-winning musical,” says Hofstra Entertainment’s promotional materials. In the time of the University hosting the Presidential Debate, there’s no more perfect a show to produce. If only the production were stronger.

‘1776’ the musical is found not so revolutionary (Richard Ginsburg)