If weâre being honest with ourselves, 1776 should be on everybodyâs list if youâre looking for something to audition with that not everyone knows. Not only is pretty much the entire soundtrack a BOP, but thereâs something for every possible audition.
âSit Down, Johnâ: Not only is Johnâs mini-monologue a great 30-second piece (if you ever need one) and a wonderful look into his character, the entire song gets you ready for the show and you can probably string together 16 bars for an audition.
âPiddle, Twiddle, and Resolveâ: Did I mention Johnâs characterization? This song is all about getting to know John. And whatâs great is that, as much as I love William Daniels, you can have so much fun with this song and playing with it in so many different ways; thereâs no one way to play John.
âTill Thenâ: A nice, light-hearted song between John and Abigail, and really sets up some wholesome moments between the two of them later in the show. I used to hate this moment and some of the later interactions between John and Abigail watching the movie (which is an incredibly faithful adaptation, due in large part to librettist Peter Stone acting as screenwriter and Peter Hunt once again directing almost the exact same cast as was on Broadway) every 4th of July because they were slower and more romantic, but as Iâve gotten older, Iâve begun to have a better appreciation for the moments. Great for both men and women.
âThe Lees of Old Virginiaâ: Even though Franklin and John sing in this, this is very much Leeâs song. If youâre looking for a fun, energetic, rhyming song for a more comedic role, then look no further than the loveable quasi-idiot Richard Henry Lee.
âBut, Mr. Adamsâ: Every verse is perfect for a 16 bar audition, and itâs a clever song throughout. It also serves to set up John and Jeffersonâs conflicting relationship throughout the rest of the show and honestly has some of the best jokes about the characters in it. And since the entire Declaration committee sings, thereâs a character for most everyone in it to choose from.
âYours, Yours, Yoursâ: This is the big, traditional romantic duet of the show, and has great parts for both John and Abigail, especially to show off emotional resonance within a song. This is the big moment that âTill Thenâ sets up, and itâs such a beautiful payoff. Like, if you love ballads/duets, listen to this and then youâll love Sherman Edwards as well.
âHe Plays the Violinâ: Oh hey, Martha Jefferson is in this show! Oh, and there she goes. But, donât get me wrong, this is a great powerhouse of a song for a solid role to come on stage, belt a bit, dance with John and Franklin, make out with Jefferson, and then chill backstage until curtain call. John and Franklin also sing this but come on guys, this is literally all Martha has.
âCool, Cool, Considerate Menâ: This and âMolasses to Rumâ are the two villain songs of the show, but choose depending on what kind of villain do you want to play. Choose this one if you want the smarmy, direct antagonist to John and have fun with the genteel Southern politics of Dickinson. But also, be prepared for the lyrics because hot d*mn have they become prescient in the last couple of years.
âMomma Look Sharpâ: You know how everyone was so surprised to learn that âEdelweissâ (tune by Richard Rodgers, words by Oscar Hammerstein II) and âOlâ Man Riverâ (tune by Jerome Kern, words by Oscar Hammerstein II) werenât actually an Austrian folk tune or African-American spiritual respectively? Thatâs the case with this song that Edward Sherman wrote. It sounds so much like an old colonial folk song, especially the âmotherâsâ verse that itâs incredible to think that itâs just Sherman emulating the style. But like, this song is SO GOOD. If youâre looking for a song to take place of âClose Every Door to Meâ or âAnthemâ or âBeing Aliveâ in your audition rotation, pick up this song.
âThe Eggâ: Itâs funny because itâs the central metaphor of the show. A fun little number about John, Jefferson, and Franklin worrying and then not worrying about the Declaration is made the more ironic as basically the rest of the show is heavy debate regarding the Declaration and American values and all that. Itâs basically a three-part song, so just choose a harmony thatâs comfortable with you, and youâll be fine.
âMolasses to Rumâ: As well constructed and thematically appropriate as this song is, please be very careful as to which part you select and where you use this when auditioning. Why you ask? Because Rutledge is a big olâ barrel of racism, and this song is no exception. Itâs basically the South (Rutledge) condemning the North (John) for trying to claim the moral high ground amidst debates regarding slavery, as the Southern plantations may employ slave labor, but the Northern shipping industry is what keeps the triangular slave trade going. Itâs a great baritone part, but itâs not at the top of my recommendation list.
âIs Anybody There?â: This is the big showstopping number with a pessimistic/optimistic John hoping against all hope that the Declaration is passed. If I had to draw stylistic and musical parallels, I would definitely have to say that this song is the âBeing Aliveâ of 1776. Itâs Johnâs big show off number in terms of vocal ability and emotional range, ramping up and back down over the course of the show.
I absolutely love this show. I referenced âMomma Look Sharpâ as Sherman Edwards not writing a weak 16 bars, but thatâs honestly the theme of the entire show.
