I had hoped, from the title, for a play about the United States, either as Benjamin Franklin imagined it or as it has become since the Revolution. Irreverent comedy or historical drama, either would be welcome. In fact, this play is neither. Instead, the play takes a promising premise -- Franklin’s unsatisfactory relationship with his son -- and fails to use it to examine the relationship of the Nation’s Founding Father and the Nation itself, or to explore real father-son relationships.

Instead, Ben Franklin unfailingly tyrannizes and demeans his son. Brian Markinson is very engaging in his boundless enthusiasm and volubility. His eagerness to “steal” electricity from the sky with a kite or explain the Gulf Stream would be infectious if not for his son’s passive-aggressive reluctance. Luc Roderique plays William as the sulky, slow-learner Franklin describes. This is hard to reconcile with William’s competence as a colonial governor and undermines his position as loyal citizen of the country he is sworn to.

Historical accuracy can be played with in a work of fiction, but for a purpose. Suh substitutes rheumatism for Franklin’s gout, an extended bout of coughing in a single scene to suggest Franklin’s chronic lung problems, and a fabricated bit of self-help advice which appears to be merely for titillation’s sake.

Jakobe Jenkins plays William’s illegitimate son, Temple, a real person, with real charm.

Benjamin Franklin undoubtedly had many faults and deficiencies, but his contributions to science, inventions, journalism and literary style and political thought have lasting effect. Cutting a hero down to size is one thing, dismissing accomplishments as unfulfilled is disrespectful.

Costumes by CS Fergusson-Vaux are a mixed bag of period and modern wear and suit the play. Steep stairs across the stage dwarf the characters. A central well provides another entrance point and serves as the hold of a ship and a glass-harmonica stand. Scene changes are intimated by gauzy curtains, lighting effects (Jonathan Kim) and suitable tunes of the period, sometimes in modern renditions (Rick Colhoun).

© 2026 Elizabeth Paterson