Theater Review: 3 SUMMERS OF LINCOLN (La Jolla Playhouse)

A HOUSE DIVIDED, A MUSICAL UNITED

La Jolla Playhouse has struck gold with 3 Summers of Lincoln, a bold world premiere musical that dives into the three critical summers—1862, 1863, and 1864—when President Abraham Lincoln fought to hold the Union together amid the country’s deep divisions over slavery. With a book by Joe DiPietro (Memphis, Diana), music by Crystal Monee Hall, and lyrics by Daniel J. Watts and DiPietro, the production balances historical weight with theatrical power, filling the stage with soaring music, gripping performances, and some truly inspired staging. No wonder it’s been extended twice, now running through April 6.

Quentin Earl Darrington with cast members

The heart of the show is the evolving dynamic between Lincoln and abolitionist Frederick Douglass, who meet once each summer. While the two men spend much of Act I circling each other’s philosophies from afar, their Act II duets—especially “Our Country’s Soul,” a fiery gospel-infused anthem—are thrilling. Ivan Hernandez embodies Lincoln (he even looks a bit like him) with a quiet intensity, his rich baritone carrying the weight of a leader grappling with war, politics, and his own convictions. He grows from a frustrated and isolated figure into a man who eventually boldly leads the Union forward. Quentin Earl Darrington’s Douglass, meanwhile, is a force of nature, his booming voice and ferocious intensity demanding attention from the moment he steps on stage. Their eventual alliance is electrifying, though one could argue the show takes a little too long—until the second act, actually—to get them in a room together.

Carmen Cusack, Saycon Sengbloh and Naomi Tiana Rodgers

Carmen Cusack delivers a refreshingly complex Mary Todd Lincoln, a woman often reduced, perhaps unfairly by some historians, to an unpleasant, maybe mentally ill, shrew. Here, she’s wry, strong-willed, loving wife tormented by personal loss—and who happens to have a splendid singing voice. Her ballad “A Woman Alone” is pure, aching Americana, and Cusack delivers it with heartbreaking clarity.

Eric Anderson draws lots of laughs as the obnoxious, pompous and insufferable General George McClellan, while Saycon Sengbloh brings warmth and understanding as Mary’s confidante and dressmaker, Elizabeth Keckley, particularly in the bluesy, defiant “This Dress is Mine.” John-Andrew Morrison is Lincoln’s wise and smooth butler, William Slade, Nathan Salstone gives an affective performance as a young Union soldier, especially in the plaintive folk-inspired “Letters Home.” Geno Carr is appropriately nasty as the sneering postmaster Blair.

Eric Anderson, Noah Rivera, Johnathan Tanner and Evan Ruggiero

The roll call of excellence continues with creative choreography by a cadre of male dancers who offer enough pleasurable hoofing to merit a show of their own under co-choreographers Jon Rua and lyricist Watts, who incorporate movement that feels urgent rather than ornamental. The opening number features Evan Ruggiero—a dancer with an amputated leg—commanding the stage in a mesmerizing solo before the full corps of male dancers explodes into a percussive, step-infused routine.

The cast

The physical production features projections by David Bengali and Hana S. Kim, costumes by Toni-Leslie James, sound design by Jonathan Deans and Mike Tracey, lighting by Amanda Zieve, and the authentic scenic design by Derek McLane. Their work creates a vivid shifting world of colors and locations that propel the action forward. And presiding over the entire accomplished enterprise is director Christopher Ashley, who beautifully sustains the blend of singing and dancing and dialogue for two-plus hours.

Quentin Earl Darrington as Frederick Douglass and Ivan Hernandez as Lincoln

Visually, 3 Summers of Lincoln is a stunner. Derek McLane’s versatile set conjures battlefields, ballrooms, and political chambers with seamless fluidity, aided by David Bengali and Hana S. Kim’s striking projections. The lighting design by Amanda Zieve shifts between warm candlelit intimacy and harsh war-torn shadows, while Toni-Leslie James’s period costumes feel worn-in and authentic rather than stiffly historical. Jonathan Deans and Mike Tracey’s sound design ensures that Michael Thurber‘s layered orchestrations and vocal performances under Victoria Theodore‘s music direction hit with full impact.

If there’s any critique, it’s that the first act leans too heavily on setup—some of the early political debates could use more dramatic heft. Otherwise, 3 Summers of Lincoln is a powerhouse. The score blends gospel, folk, and traditional Broadway to rousing effect, and Christopher Ashley’s direction ensures that despite the weighty subject matter, the show remains emotionally compelling throughout its two-and-a-half-hour runtime. It’s more than just a history lesson—it’s an entertaining, sometimes moving, frequently informative feast of outstanding theater that feels relevant to today’s America. Catch it while you can.

Ivan Hernandez

photos by Rich Soublet II

3 Summers of Lincoln
La Jolla Playhouse, 2910 La Jolla Village Drive
ends on April 6, 2025
2 hours and 30 minutes with intermission
for tickets ($30-$137), call  ­858.550.1010 or visit La Jolla Playhouse