Johnny Tremain on the Screen and the Page

Esther Forbes’s Johnny Tremain remains the foremost American novel on the Revolution, its coming-of-age story for the title character mirroring how the society around him moves toward independence.

In the next week some North End institutions will celebrate the cultural heritage of that book.

Friday, 12 September, 7 to 9:30 P.M.
A Revolutionary Movie Night
Christopher Columbus Park

Join the Paul Revere House and the Friends of Christopher Columbus Park for a free movie night in honor of the 250th anniversary of Paul Revere’s Midnight Ride. Come meet Paul Revere, enjoy 18th-century tunes on the Fife and Drum, and then watch an outdoor screening of Thomas Edison’s silent short movie “The Midnight Ride of Paul Revere” followed by the iconic Disney classic Johnny Tremain. Popcorn will be provided by Joe’s Waterfront; bring your own seating for the lawn.

Wednesday, 17 September, 7 to 8:30 P.M.
Book Chat: Johnny Tremain with Patrick O’Brien
On Zoom through Old North Illuminated

Written in 1943 by Esther Forbes, Johnny Tremain is among the best-selling children’s books of the 20th century. Intended for middle schoolers, the novel’s protagonist is 14-year-old Johnny Tremain, an apprentice silversmith working in Boston in the 1770s. When Johnny’s dreams of becoming a silversmith are dashed by a tragic accident, he takes a new job as a horse-boy, riding for the patriotic newspaper the Boston Observer and as a messenger for the Sons of Liberty. Soon, Johnny is involved in the pivotal events of the American Revolution, from the Boston Tea Party to the first shots fired at Lexington, while he encounters historical figures like John Hancock, Samuel Adams, and Dr. Joseph Warren. The book won the 1944 Newbery Medal and was adapted as a Disney film in 1957.

Patrick O’Brien, a history professor at the University of Tampa, will deliver a short presentation on the historical context surrounding the novel and then lead a discussion exploring themes from the book and what it means today as we approach America’s 250th anniversary. The discussion will be kind of like a virtual book club! This event is perfect for anyone who remembers reading Johnny Tremain as a child and for teachers and educators who would like to teach this novel with their students.

Register for this online discussion here while making a donation to Old North Illuminated for any amount. You’ll receive a Zoom link for the event.

Here are a couple of observations of my own. First, Johnny Tremain is certainly accessible to middle-school readers, and it won the Newbery Medal for best children’s book of the year. However, it was explicitly published as “A Novel for Old & Young.” That line has been dropped from the title page of more recent editions. [I have three copies of the book, in case you wonder.]

I don’t recall how it happened, but Johnny Tremain came up in my online talk for Old North Illuminated back in June. At the end of the novel the newly independent Johnny learns that his father was a Frenchman, and he experiences an emotional reconciliation with his departing Loyalist “cousin” even though her father cheated him. Symbolically, I observed, Forbes was bringing together American, French, and British—right in the middle of World War 2.

As for the movie, it’s definitely the “Disney version” of the novel. It made Johnny more admirable at the outset and his injury less long-lasting. It focused on rousing group politics and left out the deaths of some major characters. The movie also falls neatly into two halves because it was produced to be two episodes of The Wonderful World of Disney, though the studio did give it a cinema release. Folks can enjoy the movie for nostalgia, but shouldn’t miss out on the greater depth of the novel.

Here are more of my ramblings over the years on Johnny Tremain, the book (mostly) and the movie.

“The Past and Present Here Unite” and “Who Are My Ancestors?”

If you’re interested in seeing and hearing me as a talking head in a documentary film, check out “The Past and Present Here Unite,” a video introducing the Longfellow House–Washington’s Headquarters National Historic Site created by Argentine Productions.

A decade ago, I wrote a study for the National Park Service about Gen. George Washington’s use of that house in 1775–76, and most of my commentary for this movie pertains to that period. But I also shared some observations on Henry Wadsworth Longfellow and how he shaped American memory.

Alongside that video, the same filmmakers produced “Who Are My Ancestors?: The Descendants of Cuba Vassall,” which you can watch at this page. It explores the family of Cuba Vassall, a woman enslaved by the Royall and Vassall families until the Revolutionary War. She had a longer connection to that site than Washington did, and her son Darby was prominent in Boston’s antebellum campaigns for human rights.

Chatting with Some Revolutionary Figures

Here are a couple of first-person interpretations of Revolutionary figures to enjoy next week.

Wednesday, 19 March, 7 to 8 P.M.
Affectionate Friends and Humble Servants: Martha Washington and Mercy Otis Warren in Conversation
Concord Museum

Set in the late 18th century, this forum presents a fictional dialogue featuring Martha Washington (portrayed by Sandy Spector), the First Lady, and Mercy Otis Warren (portrayed by Michele Gabrielson), a prominent playwright and activist. In a cozy parlor setting, they discuss their friendship, their respective roles during the revolutionary era, and the challenges they encountered.

Through a mix of dialogue and historical anecdotes, their conversation highlights their personal reflections and the broader political context, emphasizing the bond that contributed to their influence on the emerging nation.

Admission is $10, or free to museum members. This event will not be livestreamed. Click here to reserve seats.

Thursday, 20 March, 6 to 8 P.M.
Fireside Chat with Paul Revere
Wayside Inn, Sudbury

Join Paul Revere by the fireside at this historic tavern for a spirited review of the notoriously inaccurate Longfellow poem that immortalized his “Midnight Ride.” Heavy hors d’oeuvres included with the price of a ticket, and drinks will be available for purchase at the bar. For the last thirty minutes of this event, interpreter Michael Lepage will step out of character to answer questions about the work that goes into representing historical figures.

Tickets are $20 for members of the Wayside Inn Foundation or the Paul Revere House, $25 for nonmembers. Phone 978-443-1776×1 to reserve tickets at the member price. For general-admission tickets without the member discount, click here.

Believing in “No More Kings”

In September 1975, as America was celebrating its Bicentennial, ABC launched a new season of Schoolhouse Rock interstitials titled “America Rock.”

The first of those ten cartoons was “No More Kings,” featuring a song by Lynn Ahrens that moved rapidly from the Pilgrims at Plymouth to American independence.

It made enough of an impact that a 1990s pop band called itself No More Kings.

The last cartoon in that series, also with a Lynn Ahrens song, was “Three-Ring Government,” about the division between legislative, executive, and judicial branches.

Looking back, historians’ big criticism of “America Rock” was how it presented a simple narrative of constant progress, elevating the perspective of propertied white men and largely ignoring Americans who dissented or lost out.

Seeking to avoid criticism, the producers had avoided current controversies and also tamed the controversies of the past. They reflected a version of national history that the overwhelming majority of Americans in that era could agree on.

Such as “No More Kings” and “Three-Ring Government.”

“Winning Independence” with General Washington

Here’s yet another video that’s interesting as a representation of the Revolution for modern Americans.

The modern Americans of 1932, that is.

That year, the U.S. of A. celebrated the 200th anniversary of George Washington’s birth, a division of Kodak called Eastman Classroom produced four fifteen-minute movies about him with the blanket title George Washington: His Life and Times.

The screenshots in this posting are from the installment “Winning Independence,” as put on YouTube by Periscope Films.

Though talking pictures had become standard entertainment by that time, schools still weren’t wired for sound, so these films were made as silent movies, with an emphasis on visuals.

Judging by the number of men shown, the battlefield scenes must have had high budgets. The image above shows grenadiers marching up Bunker Hill, looking very much like Howard Pyle’s painting of that scene. There are also animated maps.

The narrative is standard: Washington provides discipline for the army, loses New York, wins at Trenton and Princeton, loses Philadelphia the next year, learns enough at Valley Forge to win at Monmouth, and then there’s a jump over several years with just a quick mention of Charleston and Gen. Nathanael Greene before we arrive at Yorktown.

The credits thank William Randolph Hearst for the impressive scenes of Washington and his troops crossing the Delaware River on the night of 25–26 Dec 1776. Some of those shots match the 1924 feature Janice Meredith, starring Hearst’s inamorata Marion Davies.

The other movies in the series are “Conquering the Wilderness,” “United the Colonies,” and “Building the Nation.” 

Some Recent Videos

Here are some videos you might like.

From the American Battlefield Trust, footage from the 249th-anniversary reenactment of the Battle of Lexington and Concord at Minute Man National Historical Park in April.


From Fort Ticonderoga, here’s a link scenes from the site’s reenactment of the capture of British cannons atop Mount Defiance during Col. John Brown’s raid on the area in 1777.

Finally, from History Camp, with the help of Phil Lupsiewicz, here’s a link to my talk from last month’s gathering on “Beyond the Thirteen: The American Colonies that Stayed with Britain.”

“Rebel Town” in Lenox through 18 Aug.

This week John Alan Segalla’s musical Rebel Town is being performed at the Duffin Theater in Lenox.

The ticket page says:

Rebel Town plunges you into the heart of Boston's political crisis in 1773. The story begins on the bustling wharfs, three days before the Boston Tea Party as Parliament’s Tea Act & the unlawful [sic] tax on tea ignites a firestorm of resistance led by charismatic Sam Adams, who rallies a town meeting to confront tyranny with three tea ships anchored in Boston Harbor.

Amidst the chaos, a 13-year-old apprentice Peter Slater Jr. dreams of joining the Sons of Liberty as carpenter William Grey and his comrades guard the ships, preventing customs officials from unloading the pernicious tea. With days to spare until the ships must be unloaded by law, the men and women of Boston make plans to deal with the tea in a manner that King George would never expect.

From lively gatherings and dance numbers at Liberty Tree to secretive schemes at the Bunches [sic] of Grapes Tavern, these passionate rebels—including John Hancock, Paul Revere, and Mercy Otis Warren—grapple with the weight of their defiance, knowing they risk being branded traitors or worse, being hanged for treason if caught. Daughters of Liberty including Sarah Grey, Abigail Slater and the women of the town play their own unique role in considering the consequences, their own rights, and aspirations for the future.

Segalla directed this production, as well as writing the whole show starting during the pandemic. It was supposed to be performed in May in the theater at Berkshire Community College, but those performances had to be canceled.

This week’s run through Sunday, 18 August, therefore appears to be the show’s debut. Naturally, Segalla hopes to bring Rebel Town to Boston.

Revolution’s Edge Returns to Old North

Old North Illuminated has brought back Revolution’s Edge, its thought-provoking play set inside the church on 18 Apr 1775.

Patrick Gabridge wrote this drama to be performed in Christ Church, Boston, about actual people in that congregation in 1775, using the historical record and some dramatic imagination. It’s directed by Alexandra Smith and produced by Jess Meyer for Plays in Place.

It looks like there’s a new cast this summer. The Rev. Mather Byles, Jr., a Loyalist at odds with most of his flock, is being played by Eric McGowan and Tim Hoover. Cato, the African man enslaved by Byles and the play’s narrative voice, is played by Stetson Marshall and Joshua Lee Robinson. Captain John Pulling, Jr., a church vestryman and Patriot activist, is played by Dustin Teuber and Kevin Paquette.

I wrote about the play last summer. The approaching Sestercentennial anniversary of the day it depicts makes it even more resonant.

Revolution’s Edge lasts about forty-five minutes. It will be performed four nights a week through 10 August. For more information, a video preview, and tickets, visit Old North Illuminated.

“Dill” Screenplay Reading in Old South, 19 Mar.

On Tuesday, 19 March, Revolutionary Spaces’s Old South Meeting House will host a live reading of a screenplay, performed by local actors and accompanied by music and sound effects.

The drama is called Dill, described as “inspired by real people and real events on the Cape Ann Shore in Massachusetts during a tumultuous time on the cusp of the American Revolutionary War.”

At the risk of spoilers, I’m guessing the central character, “an enslaved woman named Dill, short for Deliverance, who…finds herself in a love triangle between two men,” is based Deliverance Symonds. Abram English Brown wrote a chapter about Symonds in Beneath Old Hearth-Stones (1897).

After the reading, there will be a discussion of the screenplay’s historical context featuring these experts:

• Lise Breen, author of “Hidden City: Slavery and Gloucester’s Quadricentennial” in Gloucester Encounters: Essays on the Cultural History of the City 1623-2023 and coauthor of Objects of Myth and Memory: American Indian Art at the Brooklyn Museum.
• Nerissa Williams Scott, producer of Dill and other films, C.E.O. and Lead Creative Producer of That Child Got Talent Entertainment (TCGT), and an affiliated faculty member at Emerson College in the Business of Creative Economy and Visual Media Art departments.
• Beth Bower, formerly staff archaeologist at the Museum of Afro American History and archaeological and historic resources program manager for the Central Artery project, now studying the 1750–1850 African American community in Salem.
• Jeanne Pickering, an independent scholar of slavery in eighteenth-century Essex County who maintains the research databases of NorthShoreSlavery.org.

The event announcement does not name the author of the screenplay.

This is a free event, but registration is requested. Doors will open at 6:30 P.M., with light refreshments available, and the performance is scheduled for 7:00.

Celebrations of Phillis Wheatley’s Boston Pub Date

At the end of November 1773, the ship Dartmouth was moored in Boston’s inner harbor, watched by a militia-style patrol of volunteers to ensure the tea it carried was not unloaded and taxed.

The Rotch family’s vessel, under the command of James Hall, brought other cargo as well. Among those items were copies of Phillis Wheatley’s Poems on Various Subjects, Religious and Moral.

Wheatley had recently become legally free, and she was counting on sales of those books for her income.

Fortunately, by 1 December the local Whigs made clear that everything could be unloaded from the Dartmouth except the East India Company tea, so the books came ashore.

Historians only recently recognized the connection between Wheatley’s book and the Boston Tea Party because no one mentioned it at the time. Wheatley may have been worried 250 years ago today, but by the time she was writing the letters that survive she had her books on dry land and was busy promoting orders.

Wheatley wrote that her books would arrive “in Capt. Hall,” using the common way of referring to a ship by its master rather than its name. About ten years ago Wheatley biographer Vincent Carretta, researcher Richard Kigel, and others realized that the captain of that name arriving in Boston around that time had to be James Hall on the Dartmouth.

The sestercentennial of the Tea Party thus coincides with the sestercentennial of the publication of Phillis Wheatley’s book in America, and both events are being commemorated this season.

Ada Solanke’s play Phillis in Boston will have its last performances for the year in Old South Meeting House, the poet’s own church, on Sunday, 3 December. That site-specific drama depicts the poet, her friend Obour Tanner, her husband-to-be John Peters, her recent owner Susannah Wheatley, and abolitionist Prince Hall. Order tickets here.

The next evening, 4 December, the Boston Public Library will host “Faces of Phillis,” a free program discussing the poet from various perspectives. It will start with a staged reading of parts of Solanke’s plays about Wheatley. Then there will be a panel featuring Solanke, sculptor Meredith Bergmann, and Kyera Singleton of the Royall House & Slave Quarters museum. The evening will conclude with Boston’s Poet Laureate, Porsha Olayiwola, performing a dramatic reading of her own work and one of Wheatley’s poems.

“Faces of Phillis” is scheduled to last from 6:00 to 7:30 P.M. Register for that event here.

“Liberty or Death: Boston Tea Party” Now Streaming

A few months back, an invitation came to me through Revolution 250. Was I up for answering questions about the Boston Tea Party for a television show?

I said yes, trimmed my beard, put on a blazer, and showed up at History Cambridge as directed. The local production crew there was very nice, as was the producer asking the questions via a feed from New York.

Later I found out the program would be on Fox Nation, a subscription service. And only this past week did I learn that it’s titled Liberty or Death: Boston Tea Party and features Rob Lowe as the host and main narrator.

Hey, if I'd known that this production would be so star-studded, I might have asked for twice the money. (Really, I did this as a volunteer for Revolution 250.)

Liberty or Death: Boston Tea Party combines dramatized scenes with talking-heads interviews. It comes in four episodes, each about half an hour long. Here’s the trailer. To watch the whole thing this fall, one has to subscribe to Fox Nation.

I’m confident about the accuracy of what Benjamin L. Carp, Robert J. Allison, Hannah Farber, and any other historians on screen have said. I’m reasonably sure I didn’t embarrass myself with misstatements.

I can’t promise anything about the dramatized scenes or narration since we didn't see a script. And I have little doubt that if one of us talking heads said something that contradicted a dramatic scene, the interview would have been trimmed, not that footage. That’s show biz.

Ben Carp points out that since we appear in a show with Rob Lowe, we are now just three degrees of separation away from Kevin Bacon.

(Thanks to Adam Hodges, Ben Carp, and Bob Allison for alerting me that this show was now streaming away and that I wasn’t jettisoned before the final cut.)

Learning about Phillis Wheatley in London and Boston

Ade Solanke is a British playwright of Nigerian descent. She earned an M.F.A. in screenwriting at U.S.C. on top of British degrees, and she’s now a senior lecturer at Goldsmiths College in London.

Solanke specializes in stories about the African diaspora. In 2018 her play Phillis in London debuted at the Greenwich Book Festival. It dramatized the experiences of Phillis Wheatley in the summer of 1773, visiting the imperial capital to promote the publication of her book of poetry.

On Monday, 30 October, Solanke will be at the Massachusetts Historical Society for a reading from that play and a panel discussion about researching it, titled “Bringing Phillis to Life.” The other panelists will be:

• Tara Bynum, author of Reading Pleasures: Everyday Black Living in Early America.
• David Waldstreicher, author of The Odyssey of Phillis Wheatley.

That event starts at 5:30 with a reception, and the program will begin at 6:00. Admission is $10, free to members. People can also watch online for free. Register to attend one way or the other through this page.

On Friday, 3 November, Solanke’s new play Phillis in Boston will premiere at the Old South Meeting-House—no doubt the event that’s bringing the playwright to Boston. (There will be preview performances the previous two nights.)

Directed by Regge Life, Phillis in Boston explores the life of the poet soon after she returned from London. Revolutionary Spaces says:

The play celebrates friendship, love, community, and joy by centering Wheatley’s relationships with her friend and confidant Obour Tanner, her husband-to-be John Peters, and the dynamic abolitionist Prince Hall. Phillis in Boston examines slavery in New England through the lens of Wheatley’s complex relationship with her enslaver Susanna Wheatley, who supported Wheatley’s literary ambitions even as she kept her in bondage.

Phillis in Boston is designed to be performed in the meetinghouse where Wheatley and other revolutionaries were congregants.

Solanke’s play will run in that space through Sunday, 3 December, on evenings from Wednesday through Sunday. Tickets cost $15–35. For more information and to reserve seats, visit this page.

(The striking image above comes from the webpage of an event at the British Library earlier this month, all inspired by the sestercentennial of Wheatley’s book.)

Two Online Discussions of John Adams

Here are a couple of online events focusing on John Adams folks might be interested in.

On Thursday, 24 August, the hosts of the History Camp discussions will talk about Remembering John Adams: The Second President in History, Memory and Popular Culture with author Marianne Holdzkom.

The copy for the book says, “The second president is one-dimensional at times, and perhaps best known to the public as ‘obnoxious and disliked,’ but he is always fascinating.” That phrase comes from the musical 1776, which gives Adams the central role. It doesn’t come from any of Adams’s contemporaries writing about him. Indeed, the closest antecedents are in memories Adams himself wrote about how his political opponents viewed him, and he tended to puff up the severity of the opposition he faced.

According to reviews like this one, Holdzkom considers how Adams appears in his descendants’ writings, in more recent historians’ books, in the two big Broadway musicals and the H.B.O. miniseries, and even in Ezra Pound’s Eleven New Cantos.

This discussion will become available through the History Camp website and allied pages at 8:00 P.M.

On Tuesday, 29 August, the American Revolution Institute will share an online lecture by Prof. Jeanne E. Abrams of the University of Denver based on her book A View from Abroad: The Story of John Adams and Abigail Adams in Europe.

The Adamses spent a few years together in Europe in the 1780s during his diplomatic work. Abrams will discuss how in this time “the Adamses and their American contemporaries set about supplanting their British origins with a new American identity.”

That event is scheduled to take place from 6:30 to 8:30 P.M., leaving ample time for questions. Sign up through this page.

Peeking in on “Revolution’s Edge”

A month ago I noted the upcoming premiere of “Revolution’s Edge,” a play dramatizing the stresses affecting three men associated with Christ Church in the North End on 18 Apr 1775.

The three characters are the Rev. Dr. Mather Byles, Jr., planning to leave that church; his enslaved servant, Cato, worried about being removed from his family; and John Pulling, a merchant captain and vestryman who’s also interested in the movement of British soldiers. Byles is a Loyalist, Pulling a Patriot, and for Cato the lack of liberty cuts most deeply.

I attended that first performance at Old North and can recommend the show as a thoughtful exploration of how the Revolution’s big issues intersected with individual desires and needs. Performances run through 19 September.

WBUR’s report on the play included this passage:

Nathan Johnson, the actor who plays Cato, says it is one of the most important projects in which he’s been involved.

Johnson, who is Black, promised himself early in his acting career that he would never play an enslaved person. But the depiction of Cato, and the importance of the play’s message, made the role too compelling to pass up.

“I want everyone to see that we have all something to contribute to our history,” Johnson said. “I want everyone to see that it is not a matter of white and Black. It is a matter of America. It is a matter of progress. It is a matter of stakes, it is a matter of tension. And not just for Pulling and Byles, but for Cato as well.”

Cato is the least documented of the three characters. Playwright Patrick Gabridge had to gather vital records from Boston, Roxbury, and Nova Scotia, and then make an educated assumption that all those mentions of a man named Cato related to the same person.

To compound the challenge of building Cato’s character when none of his words survive, an enslaved man in a room with his owner wouldn’t have been able to speak his mind.

Gabridge turned that vacuum into an advantage by making Cato the character who addresses the audience, introducing the historic situation, the other characters, and his own unvoiced thoughts.

For folks who want to hear more, WBUR also ran an audio report.

The photo above of Johnson performing as Cato was taken by Evan Turissini, who plays Pulling, as he waited to enter.

When Phillis Met Benjamin

On 7 July 1773, nearly two hundred fifty years ago, Benjamin Franklin wrote to his relative Jonathan Williams, Sr., in Boston:

Upon your Recommendation I went to see the black Poetess and offer’d her any Services I could do her. Before I left the House, I understood her Master was there and had sent her to me but did not come into the Room himself, and I thought was not pleased with the Visit. I should perhaps have enquired first for him; but I had heard nothing of him. And I have heard nothing since of her.

The “black Poetess” was, of course, Phillis Wheatley, in London to finalize arrangements for the publication of her Poems on Various Subjects, Religious and Moral.

Franklin Papers editors suggest that Nathaniel Wheatley kept away from the discussion because of the previous year’s Somerset v. Stewart case. Williams later apologized for having set up the meeting if the young man was going to behave that way. I think there could be any number of other reasons for his absence; we don’t have the Wheatleys’ side of this encounter.

Regardless of any awkwardness surrounding that event, Franklin’s letter shows that he and Wheatley did meet face to face. He came away with no reason to doubt what Bostonians reported about her intelligence and poetic skill.

Debbie Weiss wrote a play inspired by that event, “A Revolutionary Encounter in London.” It was an online presentation through the Massachusetts Historical Society a couple of years ago during the plague, and there are other videos online as well.

On Saturday, 1 July, the Lexington Historical Society will host a staged reading of “A Revolutionary Encounter in London,” directed by Weiss with Cathryn Phillipe portraying Phillis Wheatley and Josiah George as Benjamin Franklin. That presentation will start at 6:30 P.M. in the Lexington Depot. Tickets are $25, available here. Society members get a discount on tickets and can stay to talk with the actors and playwright-director over tea and desserts.

Weiss, Philippe, and George will next bring the show to the Boston Tea Party Ships & Museum on Thursday, 6 July, at 7:00 P.M. I think seats are included in the museum admission for that day.

Wheatley stayed in London for only about six weeks. Learning that Nathaniel’s mother Susannah Wheatley was ill, she left before her book was printed. The publisher shipped copies to Boston later in the year for her to sell.

Unfortunately, those books traveled on the Dartmouth, which also carried the first consignment of East India Company tea to reach Boston. Hence the Tea Party connection.

“Revolution’s Edge” Premieres at Old North, 15 June

Old North Illuminated has commissioned a new play depicting the tensions within its Anglican congregation on the eve of the Revolutionary War.

The playwright and producer is Patrick Gabridge. Through Plays in Place, he has previously written site-specific dramas about the Boston Massacre and the John Hancock household for Revolutionary Spaces.

“Revolution’s Edge” portrays three men connected with Christ Church, Boston, in early 1775:

• the Rev. Dr. Mather Byles, Jr., the minister and a firm Loyalist, though descended from the Puritan Mathers. 
• John Pulling, a vestryman on the committee who hired Byles, a merchant captain, and an active Whig (member of the North End Caucus, for example). 
• Cato, a domestic servant enslaved to Byles, married to a woman enslaved to Byles’s in-laws out in Roxbury. 

All three men have young children. All three face the prospects of separating from their families or communities. Byles has just resigned to take a pulpit in New Hampshire while Pulling is wondering if it’s safe for him to remain in army-occupied Boston.

And it’s also the morning of 18 April.

To hear more about this production and the historical facts behind it, listen to Gabridge and Nikki Stewart, execuctive director of Old North Illuminated, chatting with Jacob Sconyers for the HUB History podcast. (Disclosure: Stewart and Sconyers are married. Double disclosure: I’m referenced in this discussion.)

“Revolution’s Edge” will premiere on Thursday, 15 June. After that, there will be performances every Tuesday, Thursday, and Saturday evening until 19 September. Seating starts at 5:00 P.M., with the performance running from about 5:20 to a little after 6:00. Tickets are $20 for adults, $10 for people under age eighteen, though the show isn’t really recommended for kids under twelve.

Watching April Morning with Experts

Since it’s Patriots’ Day season, I’m looking for appropriate content to share.

Just in time, this year brings us a video analysis of the 1988 television movie April Morning from Penn State Altoona history professor Jared Frederick and Minute Man National Historical Park ranger Jarrad Fuoss.

Howard Fast published April Morning in 1961, one of several novels set in the Revolution that he wrote over his long career. At the time Fast was coming out of the shadow of the H.U.A.C. blacklist, still leftist but having broken with Soviet Communism. Ideas of human rights show up a lot in the novel, though there’s some blur between eighteenth-century community rights and more modern ideas of individual rights.

The American Revolution is often presented as a national coming of age, and many novels about it are coming-of-age stories, April Morning among them. Structurally it’s interesting in that it takes place over about a day and a half, all in Lexington on 18–19 April 1775. Because of the young hero, straightforward narrative and writing style, and all-American backdrop, the novel has often been assigned in high school.

In 1988 the book was adapted for the Hallmark Hall of Fame series. Chad Lowe, then one of many handsome young actors vying for stardom, played the lead. Tommy Lee Jones provided weight as the hero’s father. Jones had won an Emmy for playing Gary Gilmore in 1983; he would make Lonesome Dove the next year and become a movie star with The Fugitive four years later. The supporting cast included Robert Urich and Rip Torn. (Trivia: Earlier in the decade Lowe had starred in a sitcom called Spencer while Urich starred in the detective show Spenser.)

Reel History is a YouTube channel that seeks to elevate the “reaction video” genre by adding informed historical commentary to movies set in the past. Or, as the creators’ website explains:

Jared often joined friends Andrew and Tracey Collins at their household for movie nights. Inevitably, historian Jared would initiate impromptu color commentary on historical films. One evening, Andrew declared, "Why don't we put a camera in front of you and start a YouTube channel?"

This discussion about April Morning is the first of a series within the series called “Reel History with a Ranger.” As a National Park Service veteran, Frederick is inviting people from the agency to analyze movies relevant to their sites. Fuoss brings both a lot of knowledge about the Battle of Lexington and Concord and a lot of experience explaining that history clearly to the public.

The resulting video is about an hour long, and only a little of that is the actual movie. Those scraps serve as pegs for Fuoss’s detailed description and analysis of the real battle, which is the real treat. You can watch the movie later if you still need to.

(Incidentally, this video could make American viewers feel their age. The commentators are named Jared and Jarrad. I can’t remember any classmate named Jared when I grew up, and indeed Social Security records show that it was rare for boys born in the same decade as me. But it was the 58th most popular male name in both the 1980s and 1990s before sharply declining in bell curve fashion. Thus, being in a room with two people named Jared is an experience familiar to one age cohort but not anyone older or younger.)

Listen in on Rex v. Wemms: The Boston Massacre Trial

On 28 Feb 2020, I attended a meeting at the Boston Tea Party Ships & Museum about upcoming commemorations of the Sestercentennial. Evan O’Brien, the museum’s creative director, hosted as chair of the Revolution 250 commemorations committee.

That was one week before the Sestercentennial of the Boston Massacre. As I detailed here, Revolutionary Spaces was about to host an anniversary gathering at Old South and an expanded reenactment in and around the Old State House. Prof. Serena Zabin was coming to town to present The Boston Massacre: A Family History. Exhibits were open at the Massachusetts Historical Society and Old State House.

Our meeting on that February Friday was looking ahead to a subsequent series of events in Revolutionary Boston: the trials of Capt. Thomas Preston and eight British enlisted men for allegedly carrying out the Massacre. Those legal proceedings took place in the late fall of 1770, so we were thinking about how to commemorate them in late 2020.

A reenactment of the soldiers’ trial held promise as a public event; a series of reenactments in different Massachusetts shire towns held even more. We have an unusually full transcript of that proceeding from shorthand writer John Hodgson and printer John Fleeming. Prof. Joseph McEttrick of the Suffolk University Law School had edited that record into a script he produced with students in 1999.

McEttrick, the Suffolk alumni association, and the Bostonian Society mounted a larger production of the trial reenactment at Faneuil Hall in May 2000. That was one of the first historical events I volunteered for, helping to produce the printed program and greeting attendees. The turnout was so big that I didn’t get to see more than a few minutes.

Joe McEttrick was at the meeting in February 2020, offering his script as a basis. But we knew it needed to be adapted. He’d designed that dramatization to maximize the number of university students and alumni who could participate. A Revolution 250 touring production needed a smaller cast and a shorter run time. And even a pared-down version would need significant funding. So there was a lot of work ahead.

At the time of that meeting, we were also hearing about this new coronavirus, eventually called Covid-19. It wasn’t yet clear how that disease spread or how dangerous it would be.

(On top of the natural ignorance about an unstudied virus, there was misinformation coming from the top of our government. The President had told a reporter on 7 February, “You just breathe the air and that’s how it’s passed. . . . It’s also more deadly than even your strenuous flus. This is deadly stuff. This is deadly stuff.” But publicly he claimed the disease was no worse than seasonal flu and complained about testing programs.)

As I recall that first meeting, we proceeded with the assumption that the epidemic would be resolved by the fall. By the time the Massacre commemorations came a week later, we were doing elbow handshakes and worrying about transmission through the air, though it was unclear what we could do about it. A week after that, I gave a lecture to four people, widely spaced, and then we largely stayed home. For months.

It turned out that my best contribution to those commemoration discussions was a casual remark that the soldiers’ trial could be made into an audio drama and distributed like a podcast. For several years I’ve listened to drama podcasts, from post-war detective shows and westerns to the B.B.C.’s new adaptation of The Dark Is Rising. It struck me that an audio production could sidestep the challenges of finding venues and rehearsing a large cast through long speeches, and it could last longer and reach more classrooms.

For reasons we know all too well, no Massacre trial reenactment came to pass in late 2020. But early the next year, Evan O’Brien shared the news that he was moving ahead with an audio production. He wanted to include female voices, so I sent the testimonies of Jane Whitehouse, a witness at Capt. Preston’s trial, for him to mix in.

Last month, the Revolution 250 podcast debuted its completed production of Rex v. Wemms: The Boston Massacre Trial, directed by Evan O’Brien. It has a full voice cast drawn from local historical interpreters and actors. Logging in at a bit under two hours, the material focuses on the question of whether Pvts. Edward (Hugh) Montgomery and Mathew Kilroy should be convicted of killing Samuel Gray, Crispus Attucks, or others. We hear actual eyewitness testimony and eighteenth-century legal arguments.

This recording debuted around the 252nd anniversary of the soldiers’ trial, not the exact Sestercentennial, but it can be a teaching resource for many years to come. It’s a testament to Evan O’Brien’s creativity and perseverance under challenging conditions. Have a listen.

Two New Artistic Depictions of Revolutionary Stories

Naden Rowe teaches history at an “American” middle school overseas. He occasionally parodies popular songs with new lyrics to explain some part of his lessons.

Last year he reworked “drivers license” by Olivia Rodrigo and Dan Nigro into “Act of Violence,” narrating the Boston Massacre from the perspective of a teen-aged girl in Boston.

Rowe turned to a nearby singer who goes by the name Nyah (here’s her Tiktok feed) to record the new lyrics.

Then a sixth-grader dubbed Yakuza Baby asked to make an animated video for the song, using the Paul Revere engraving combined with new art.

All in all, it’s very impressive. Rowe’s song rightly depicts the first violence of the night on King Street coming from a soldier, analyzes what feelings the propaganda print would produce, and highlights the event’s ambiguities. Nyah’s vocal performance is affecting. And Yakuza Baby’s animation effects are varied and striking.

Another creator who caught my attention this week on Twitter was Sean Dermond, who shared “Mrs. Benedict Arnold,” an online picture book. It provides his take on the story of Peggy Shippen using cutouts within paper dioramas, a technique that reminds me of the 1970s Paddington television series. Handsome draftsmanship and photography under pandemic conditions. Check it out on Dermond’s webpage.

New Movies about Arnold and Adams

A couple of films about the Revolutionary War debuted this month. I haven’t seen them, but I know and respect historians involved in these projects, so I’m passing on the news for folks who like to take in historical stories that way.

Benedict Arnold: Hero Betrayed is a docudrama available to rent or buy on YouTube, AppleTV, Amazon, and other platforms. It was directed by Chris Stearns and produced by Thomas Mercer and Anthony Vertucci, with co-producers Steve Letteri and Michael Camoin.

The main source was James Kirby Martin’s biography of Arnold. Martin was involved in the film as both an executive producer and an actor.

The trailer shows battle reenactments, enhanced with C.G.I., and dramatizations of important moments featuring Peter O’Meara as Arnold. The press release says the movie also “features insightful interviews with leading experts.” Martin Sheen supplied the narration.

The press material emphasizes how this movie gets beyond the caricature of Arnold as a treacherous villain. We probably haven’t seen authors offer such a one-sided portrayal in over a century, though. Dramas like the 2003 television movie Benedict Arnold: A Question of Honor with Aidan Quinn and the later seasons of Turn: Washington’s Spies with Owain Yeoman also tried to depict why an American battlefield hero came to plot with the enemy and defect.

That said, phrases in the press release like “self-serving political and military leaders” and “an arbitrary system of personal favoritism and cronyism” make me suspect this movie goes further in portraying the situation as Arnold himself saw it.

Folks can watch the trailer for Benedict Arnold: Hero Betrayed on YouTube or I.M.D.B.

Quincy 400 just celebrated the local premiere of a feature-length documentary titled Beyond the Bloody Massacre. It features interviews with several historians who have written on that event: Hiller B. Zobel, Serena Zabin, Robert Allison, Kerima Lewis, and Daniel Coquillette.

The announcement of this movie says:

Beyond the Bloody Massacre presents the intersecting histories of the Boston Massacre Trials through the words and experiences of John Adams, and Josiah Quincy Jr., the two Quincy (formerly Braintree) born lawyers who defended a British Captain and seven [eight] soldiers in two murder trials in the late fall of 1770.

In addition, another local boy, Josiah’s older brother Samuel Quincy, was one of the prosecutors. And Christopher Seider, the young boy killed in Boston eleven days before the confrontation on King Street, was also born in the part of Braintree that became Quincy after the war.

This documentary was filmed last fall during the 250th anniversary of the Rex v. Preston and Rex v. Wemms et al. trials. The pandemic made it impossible to reenact those trials as we’d hoped. But this film promises to explore some of the legal, political, and moral issues they raised.

Quincy 400 appears to be an initiative of the city of Quincy, and particularly of longtime mayor Thomas P. Koch. The name refers to the 400th anniversary of British settlement of the area that includes Quincy in 2025.

I can’t find any information on who made Beyond the Bloody Massacre or how people can see it now. It’s not yet viewable online, but the Quincy 400 Facebook page promises “age appropriate school curriculum materials, live roundtable discussions, collaborative programs and future public viewings.” Plenty to come in three more years before that quadricentennial.