Sometimes there is no reason to try and improve or change something which would adhere to the adage “If it ain’t broke, don’t fix it.” Adjusting, tweaking, or trying to improve things when they already work well, can spell disaster. By altering the original parts or embellishing the simplicity of the original, it may in fact complicate or confuse the final product. Such is the case of the new revival of “1776” by Roundabout Theatre Company, directed by Jeffrey L. Page and Diane Paulus, now playing at American Airlines Theatre. The fixing has much to do with gender switching which features a diverse cast that identifies as female, transgender, and non-binary, playing all the male and female roles. This would be a brilliant idea were it to shed a new light on the writing of the Declaration of Independence, focusing on how the process and outcome would change if given these different points of view. Unfortunately, the tinkering of this recent revival seems to be a poorly constructed gimmick that serves no purpose and is completely devoid of the passion, sentiment, and courage of the original.

The blame certainly does not lie with the excellent and exuberant cast but with the conception of the creative team. Choreography by Mr. Page is distracting and mostly unnecessary, trying to create production numbers when there is no need. The performers are plagued with intricate movements of their arms and legs which have absolutely no purpose and fail to enhance the aesthetic of the show. The set design by Scott Pask basically consists of tables and chairs, and two stage wide curtains (resembling gigantic shower curtains), and the big reveal at the finale, of towering rum barrels. Costumes by Emilio Sosa serve the period well but do seem a bit too colorful and garish.

The original book by Peter Stone tells the story well, recapping the events that led up to the agreement of the final draft and signing of the Declaration of Independence. The original music and lyrics by Sherman Edwards serve the plot and action coaxing emotion, drama, and sensitivity from the script. It was rich and lush, written to elaborate the pure tone of baritones and tenors. Is this current interpretation orchestrations by John Clancy turn the classic score into a diva pop concert, with each performer seemingly in competition with the other to determine who could belt out their song better and louder.

Although this production may resemble the current political turmoil in and around congress, I doubt very much that was the intention of the creative team. In the end, rather than being innovative and by today’s standards considered “woke,” it results in nothing more than a mere folly. If anything, the message that it should deliver is the importance of protecting freedom.