Victor Garber – Broadway's Best Shows

Portrayals of Presidents George Washington and Abraham Lincoln on Broadway

In honor of President’s Day, let’s take a look back at some of the most memorable portrayals of two of America’s greatest leaders, George Washington and Abraham Lincoln, as seen on the Broadway stage. From stirring speeches to moments of vulnerability, these performances have brought history to life in uniquely theatrical ways.

George Washington in Hamilton

Lin-Manuel Miranda’s groundbreaking 2015 musical “Hamilton” offers a fresh and dynamic portrayal of George Washington, depicted as a mentor and father figure to Alexander Hamilton through the Revolutionary War and his presidency. Christopher Jackson’s commanding presence and powerful vocals make Washington’s leadership palpable, particularly in the songs ‘Right Hand Man’ and ‘One Last Time.’

Abraham Lincoln in Abe Lincoln in Illinois

Lincoln Center Theater’s 1994 revival of *Abe Lincoln in Illinois*.

This Pulitzer Prize-winning play by Robert E. Sherwood chronicles the life of Abraham Lincoln from his humble beginnings to his presidency. Originally performed in 1938 and later revived in 1994 (with Sam Waterston’s Tony-nominated performance in the title role), it offers a poignant depiction of Lincoln’s journey, capturing his wit, wisdom, and the weight of his decisions during a tumultuous era in American history.

George Washington in 1776

In this Tony Award-winning musical, Washington’s presence looms large, even if he never appears on stage. As the Continental Congress debates independence, Washington’s leadership is felt through references and discussions about his character and actions, as well as in the reading of his dispatches from the battlefield. The musical about the signing of the Declaration of Independence has appeared on Broadway twice since its premiere in 1969, most recently in a gender-bent production at the Roundabout Theatre Company’s American Airlines Theatre (now the Todd Haimes Theatre).

Abraham Lincoln in Assassins

Stephen Sondheim’s dark and thought-provoking musical “Assassins” features Lincoln as a central figure, albeit in a more symbolic role. His assassination serves as a focal point for the show, exploring themes of disillusionment and the American dream through the lens of his tragic death.

From the revolutionary fervor of the American Revolution to the tumultuous days of the Civil War, these portrayals of George Washington and Abraham Lincoln remind us of the enduring impact of their leadership and the timeless relevance of their legacies. As we celebrate President’s Day, we continue to explore and honor the rich tapestry of American history, both on stage and off.

STORIES FROM THE STAGE: Victor Garber

The Broadway production of Tartuffe, at Circle in the Square, in 1978 was something that set me on an unthinkable trajectory of success.

John Wood and Tammy Grimes were the stars, along with Patricia Elliot, Swoosie Kurtz, Stephan Gierasch, Peter Coffield, and Mildred Dunnock. The production was directed by Stephen Porter. John had had tremendous success in England at the Royal Shakespeare Company and turned New York on its heels with his performances in Sherlock Holmes and Travesties. I was an enormous fan.

He was an intimidating, brilliant man, with edges that could cut deep. The production of Tartuffe was successful, and although John and I had little to do together in the play, he was always kind to me backstage. We weren’t buddies.

One night he handed me a script backstage, after the bows, and asked me if I would read it. He’d been offered a new play and wanted to know what I thought. I was shocked, flattered, and when I rushed home and started reading it, I realized he must be considering me to play Clifford in Ira Levin’s thriller, Deathtrap. My head was spinning. Did I make this part up? But why else would he ask for my opinion? We’d never even had dinner together.

When I returned to the theatre and knocked on his dressing room door, he immediately asked me what I thought. I remember immediately insisting that he must play Sidney Bruhl. It was a fantastic role for him, never insinuating the possibility of my playing Clifford. He paused, something he did to great dramatic effect, and said, “Of course you must play Clifford”. I’m sure I blushed, something I did often, and he asked me if he could read with me for my audition. I blushed again, and said that would be great.

Soon afterwards, we read together for Robert Moore, the director, and Alfred de Liagre, the legendary Broadway producer. I’ll just say, that was a moment. Over the year, we worked together, John and I had many ups and downs. My unconditional love and support came from the incomparable Marian Seldes, who played Myra until the end of the 5 year run.

I will always be grateful to John for choosing me to play opposite him. That production definitely had an enormous impact on my career. I just wish we’d been able to find a way to be closer.

Victor Garber