Light and frothy. Well, maybe that’s what we need these days. And if that’s what you’re looking for, Ford’s Theatre is offering a great dose of light and frothy fare in “Liberty Smith,” a musical spin through history in which some of the most famous American Founding Fathers sing their hearts out. “Liberty Smith” is based on the premise that the American Revolution didn’t happen just because Washington, Jefferson, Franklin and Revere existed, but because there were many people, as in “We the People,” who were responsible for accomplishing the Revolution. It’s a clever historical tribute to everyman.
| ONSTAGE | |
| ‘Liberty Smith’ | |
| » Where: Ford’s Theatre, 511 10th St. NW | |
| » When: 7:30 p.m. Monday to Saturdays (except April 25), 2:30 p.m. Friday and Saturday (except April 15, May 6 and 13), noon matinees May 6 and 13; through May 21 | |
| » Info: $15 to $55; 800-474-4833; fords.org | |
The first half of the musical tells the tale of a young man, Liberty Smith (Geoff Packard), a boyhood friend of George Washington (Gregory Maheu) who becomes apprenticed to Benjamin Franklin (Christopher Bloch), then, infatuated with the notion of America’s freedom, goes with Franklin to France and returns to help the Revolution succeed.
And it should be said immediately that the success of “Liberty Smith” rests squarely on Packard’s shoulders. He has a clear tenor voice that can belt out impassioned ensemble numbers or gently deliver reflective songs. Equally important, Packard has boundless energy and an engaging personality. Without his charm, the musical could not exist.
Directed by Matt August, “Liberty Smith” has a lot to do with love. Although Liberty is convinced he’s in love with Martha Dandridge (Lauren Williams), his path repeatedly crosses that of Emily Andrews (Kelly Karbacz), an independent young woman who seems to have single-handedly started the women’s rights movement. By musical’s end, Liberty realizes that Emily is his true love.
With its rich costumes by Wade Laboissonniere and clever set by Court Watson, “Liberty Smith” is a feast for the eyes. But the book, by Marc Madnick, Eric Cohen and Adam Abraham, is almost too slick for its own good, making contemporary references (to Fox News, for instance) amidst 18th century events, undercutting period speech with modern jargon and jokes. It’s as though the musical’s creators didn’t trust the strength of their work without comedy filler.
Michael Weiner’s music in Act I is a concoction of upbeat numbers, some of which sound amazingly like one another. Abraham’s lyrics are smart but predictable. But by Act II, Liberty’s personality has become defined and he sings a few numbers that are more reflective, particularly after he has had his heart broken.
And it is from that point on that “Liberty Smith” begins to come together. Act II contains two of the musical’s best numbers: “Declarations” and “I Never Expected You.” Benedict Arnold (James Konicek) is defeated. Betsy Ross (Donna Migliaccio) gets the flag right, and the final song, “Dare But to Dream” is a rousing piece of Americana.
