1776

Ford’s Theatre explores the legacy of President Abraham Lincoln and celebrates the American experience through theatre and education. A working theatre, historical monument, culturally-significant museum and learning center, Ford’s Theatre is the premier destination in Washington, D.C. to explore and celebrate Lincoln’s ideals and leadership principles. 

Ford’s Theatre History 

In 1861, theatre manager John T. Ford leased out the abandoned First Baptist Church on Tenth Street to create Ford’s Theatre. Over the next few years, the venue became a popular stage for theatrical and musical productions. On April 14, 1865, Abraham Lincoln visited Ford’s for a performance of Our American Cousin. At this performance, Lincoln was shot by John Wilkes Booth, a Confederate sympathizer and white supremacist. Lincoln died the next morning in the Petersen House, a boarding house located across the street. Ford’s Theatre remained dark for more than 100 years, officially reopening in 1968 as a national historic site and working theatre. It is operated through a public-private partnership between the National Park Service and Ford’s Theatre Society. 

Ford’s Theatre Today 

Through its inspiring theatrical productions, live historic interpretation and engaging education programs, Ford’s Theatre offers visitors the opportunity to immerse themselves in America’s past while revealing meaningful connections to today. 

As a working theatre, Ford’s produces renowned plays, vibrant musicals and newly commissioned works that captivate and entertain while examining political and social issues related to Lincoln’s legacy. With works from the Tony-nominated Come From Away and the nationally acclaimed Big River to the world premieres of Meet John Doe, The Heavens Are Hung In Black, Liberty Smith, Necessary Sacrifices, The Widow Lincoln, The Guard, Grace, Something Moving: A Meditation on Maynard and The American Five, Ford’s Theatre is making its mark on the American theatre landscape. With the opening of the Aftermath Exhibits at the Center for Education and Leadership, Ford’s Theatre has become a major center for learning, where people of all ages can examine Lincoln’s multi-faceted legacy through exhibits, workshops and educational programs. 

For more information about Ford’s Theatre and Ford’s Theatre Society, please visit www.fords.org. 

We are glad that you are joining us at Ford’s Theatre today. This is a welcoming and interactive community. Whether you are here to visit our historic site or to see a show, we invite you to be your authentic self.

At Ford’s Theatre:

• We are allowed to be human, in all the ways that make us unique.
• We are allowed to be human together. We encourage you to find moments of respectful connection and engagement with other members of the community.
• We are on common ground. We are all here to enjoy a shared experience and though our reactions and responses may vary, we will remain respectful.
• We are creating a live theatrical experience together; audible reactions and responses are welcome. The actors need you to engage with what you see but not to distract them from their performances.
• We also welcome the use of personal communication devices if they help you to better experience the show, but we encourage you to respect the actors’ work and the other audience members around you. Please note that the taking of photographs, video or sound recordings of the performance is not permitted.

Let’s create something beautiful together.

Reflections by Paul R. Tetreault, Director, Ford’s Theatre

Whose history is it?
Who gets to tell America’s history?
As we celebrate the 250th anniversary of our founding—we know who was present in that first Continental Congress in 1775-1776 We all know who the Founders were—we have studied them in our earliest American history lessons; they were all men and were from Europe—mostly Great Britain.

However, is the Founding of America and its history reserved for only men who descended from Europe? Of course not! 250 years after the original signing of the Declaration of Independence, that history belongs to all Americans who make up the fabric of America in 2026.

Conversations about staging a production of 1776 to coincide with America’s 250th birthday began in the spring of 2018. Our staff’s research revealed that composer and lyricist Sherman Edwards was a history teacher. It was this interest that led him to our founding fathers and the debates surrounding the idea of independence. He studied the personal written accounts from the congress members that were there, and these accounts became his concept for 1776.

Edwards worked on the project for years. Early drafts were met with derision and rejection from potential producers. The criticism focused on the notion that the play had no relevance and would generate little interest during the social unrest of the late 1960s—a volatile era of distrust toward many of our institutions. The consensus according to Edwards went: “Would a story celebrating our independence, patriotism and the birth of our nation succeed during such divisive times?” Still Edwards persevered, looking back to the founding of our country and writing his musical in a manner that has resonated and endured for over five decades.

In exploring the musical today, we also examine our nation’s founding, but from the perspective of our present and our hope for the future. While reflecting on the values of Abraham Lincoln, we asked ourselves some questions: if we could travel back in time to that summer of 1776—knowing what we know today, what would our arguments be? Could our current political divisions allow us to find common ground? And who does the original story of our nation belong to?

Director Luis Salgado’s use of a theatrical portal reclaims the beginning of our country as an American story that belongs to each of us. The audience gains entrance to an interactive museum—an artistic replica of Constitution Hall with artifacts, costumes and furniture. Once the actors enter the stage, they are transported to Philadelphia during that sweltering summer of 1776. Grounded in period detail with some contemporary touches, the production intentionally aims to connect the past with our present. We believe we have created an entry point for every American to explore
their shared history whether their ancestors were present in 1776 or not, to see this as their story.

I hope you will agree, this 1776 is completely connected to what the authors originally intended over 50 years ago when they created this piece. It celebrates the continuum of American history, the people and the country we have become, and how the events that took place 250 years ago continue to inform who we are today.

Performances of 1776 are made possible by generous support from:

Lead Sponsor

ConocoPhillips is the world’s largest independent E&P company based on production and proved reserves. Headquartered in Houston, ConocoPhillips has operations across 14 countries where approximately 9,900 men and women work in a truly integrated ways to find and produce oil and natural gas. A commitment to safety, operating excellence and environmental stewardship guides our operations.

Ryan Lance

Chairman and Chief Executive Officer

Lead Sponsor

The story of 1776 reminds us that building a better future begins with courageous conversations, collaboration and a shared sense of purpose. At Edward Jones, we partner with families to navigate life’s important decisions – with trusted guidance and deep, personal relationships – so they can pursue what matters most. We’re proud to support Ford Theatre’s powerful production of 1776 and celebrate stories that inspire determination and hope.

Penny Pennington

Managing Partner, Edward Jones

Sponsor

At Altria, we have a long-standing history of investing in our vibrant communities across the Nation. We’re proud to support Ford’s Theatre and the spring production of 1776.

Billy Gifford

Chief Executive Officer

Sponsor

Boeing is committed to being a positive catalyst for change in the places we call home, fueled by the passion and dedication of our employees. Through Boeing Global Engagement, we invest in the next generation of innovators and explorers, veterans and their families transitioning after service, and local programs that uplift communities. Our journey is powered by purpose and inspired by innovation, with a dedication to strengthening and enriching our communities for lasting impact.

Sponsor

The Home Depot is the world’s largest home improvement specialty retailer with a total of 2,353 retail stores and over 800 branches across all 50 states, the District of Columbia, Puerto Rico, the U.S. Virgin Islands, Guam, 10 Canadian provinces and Mexico, employing over 470,000 associates. The Home Depot and The Home Depot Foundation are proud to support the work of Ford’s Theatre and in partnership with VetTix.org, to ensure active-duty Military, Veterans and their families are able to enjoy the productions.

Ted Decker

Chair, President and Chief Executive Officer

Sponsor

KPMG LLP is the U.S. firm of the KPMG global organization of independent professional service firm providing Audit, Tax and Advisory services. Our multi-disciplinary approach and deep, practical industry knowledge help clients meet challenges and respond to opportunities. KPMG is committed to local communities and is proud to be an underwriter for Sister Act. To learn more about KPMG’s commitment to our communities, visit our page: www.kpmg.com/us.

Steven G. Barry

National Partner in Charge, Regulatory and Quality Monitoring

Sponsor

Siemens Corporation is a U.S. subsidiary of Siemens AG, pioneering a new industrial tech sector by investing more than $20 billion nationally since 2007. For over 160 years, we’ve advanced the core industries—manufacturing, infrastructure, transportation—that form the backbone of America’s economy. Through digital twins and industrial AI, Siemens delivers expertise in electrification, automation, and digitalization, increasing customer performance and sustainability. In fiscal 2024, Siemens US generated revenue of $21.2 billion, with 24 manufacturing sites across the nation and more than 45,000 employees serving customers in all 50 states and Puerto Rico.

Barbara Humpton

Chief Executive Officer, Siemens USA

Additional Support

This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

Season Sponsor

Chevron is a proud sponsor of Ford’s Theatre. As one of the world’s leading integrated energy companies, Chevron’s success is driven by our people and their commitment to delivering industry-leading results and superior stockholder value in any business environment. We do this by operating responsibly, applying advanced technologies, capturing new high-return opportunities, and executing with excellence in a socially and environmentally responsible manner. More information about Chevron is available at www.chevron.com.

Michael K. Wirth

Chairman and Chief Executive Officer

Season Sponsor

At Intuit, we are driven by our mission of powering prosperity around the world and believe everyone deserves the opportunity to prosper. This includes investing in our communities and supporting programs, such as today’s performance that help bring people together, spark creativity, and promote collaboration. We are proud to support Ford’s Theatre as a season sponsor.

Kerry McLean

Executive Vice President, General Counsel and Corporate Secretary

Season Sponsor

At Lockheed Martin, we lead in aerospace and defense technology—pushing innovation and scientific discovery to deliver solutions that keep the U.S. and its allies safe. Whether through transformative technologies or meaningful community partnerships, like the one we have had with Ford’s Theatre for many years, we are committed to making a difference in our communities and to supporting our important national institutions.

James D. Taiclet

Chairman, President and Chief Executive Officer

Official Airline Sponsor

At United, we know that being the world’s biggest airline doesn’t mean much if it’s not an airline that works for you – whether you’re a million miler or a first-time flier. That’s why we’ve made sure to offer more flights to more of the places you want to fly at the times that work with your schedule, so you can make the matinee…or the evening show. Learn more at united.com.

Scott Kirby

Chief Executive Officer

Costumes for 1776 built in the Michael and Cynthia Hemmerich Costume Studio.

“For God’s Sake John, Sit Down!” – John Adams and Congress

“Piddle, Twiddle, and Resolve” – John Adams

“Till Then” – John and Abigail Adams

“The Lees of Old Virginia”- Richard Henry Lee, Benjamin Franklin, John Adams

“But, Mr. Adams” – John Adams, Benjamin Franklin, Thomas Jefferson, Roger Sherman, Robert Livingson

“Yours, Yours, Yours” – John and Abigail Adams

“He Plays the Violin” – Martha Jefferson, Benjamin Franklin, John Adams

“Cool, Cool, Considerate Men” – John Dickinson and the Conservatives

“Momma, Look Sharp” – Courier, Leather Apron

“The Egg” – Benjamin Franklin, John Adams, Thomas Jefferson

“Molasses to Run” – Edward Rutledge

“Compliments” – Abigail Adams

“Is Anybody There?” – John Adams

Sherman Edwards
Music and Lyrics
Was born in New York and taught American history at James Monroe High School. After earning an undergraduate degree in history, at New York University, he later did graduate work in history at Cornell University. He appeared as an actor in My Sister Eileen and Pins and Needles. He began working as a pianist, playing for Lisa Kirk, Eddie Fisher and Mindy Carson. Later, he played in the bands of Tommy Dorsey, Benny Goodman and Louis Armstrong. In the late 1950s, he began writing popular music, including the hit songs “Broken-Hearted Melody”, “See You in September” and “Wonderful, Wonderful”. 1776 (1969 Tony Award) was his only Broadway score.

Peter Stone
Book
Began writing for CBS Radio, soon moving to television, including the shows Studio One, The Defenders (Emmy Award), Asphalt Jungle and Espionage. He has written the plays Friend of the Family and Full Circle. In addition to 1776, his Broadway credits include the musicals Kean, Skyscraper, Two by Two, Sugar, Woman of the Year (1981 Tony Award), My One and Only, Grand Hotel and The Will Rogers Follies (1991 Tony Award for Best Musical). Stone also wrote the screenplay for the film version of 1776. His other screenplays include Charade, Father Goose (1964 Academy Award), Mirage, Arabesque, Sweet Charity, The Taking of Pelham 1-2-3 and Who Is Killing the Great Chefs of Europe?

Luis Salgado
Director/Choreographer
Broadway: In The Heights; Women on the Verge of a Nervous Breakdown; ROCKY; On Your Feet! National Tour: On Your Feet! The Musical–The Story of Emilio & Gloria Estefan. Other: Stages: Aida; In The Heights; GALA Hispanic: On Your Feet! La historia de Emilio y Gloria Estefan ¡EN ESPAÑOL!; In The Heights (Helen Hayes Award Winner); Transcendence: Let’s Dance. Film & TV credits: American Gangster, Dirty Dancing 2: Havana Nights, Enchanted and Step Up 2: The Streets (Alejandro), for which he also was assistant choreographer. 

Clay Ostwald
Music Director
Has spent his career as a producer, keyboardist and Musical Director with Gloria and Miami Sound Machine. He contributed to multiple Platinum, Gold and Grammy award-winning albums. He is an American Music Award recipient, and a Grammy nominee as Producer of the Year. Credits: Broadway, USA Tour, London West End: On Your Feet! (Asst. MD, MD and Supervisor). Once Upon a One More Time (Keyboards). Regional: Jersey Boys, Hunter S. Thompson Musical, Back to the Future, Little Shop of Horrors.

Milagros Ponce de León 
Scenic Designer
Selected Ford’s (Associate Artist): Silent Sky, Into the Woods, Ragtime. Recent credits include Disney Hercules and Disney Tale of Moana for Disney Live Entertainment. Regional: Asolo Rep, Cincinnati Playhouse, Children’s Theatre of Charlotte, Ensemble Studio Theatre, Everyman Theatre, Gala Hispanic Theatre, Imagination Stage, Kennedy Center, Maltz Jupiter, National Players, Olney Theatre Center, Round House and Signature (Washington, D.C), and Syracuse Stage among others. 5 Helen Hayes Nominations, one Carbonell Nomination. MFA Scenic Design & Studio Arts, University of Maryland. Professor of Scenic Design at Penn State, USA-829 member.

Ivania Stack
Costume Designer
Ford’s (Associate Artist): Sister Act, Something Moving, The Trip to Bountiful, Silent Sky, Jefferson’s Garden. Regional: Arena, Round House, McCarter Theatre, Gulf Shore Playhouse, Asolo Repertory, The Wilma, Seattle Repertory, Philadelphia Theatre Company, TFANA, Signature; D.C.-Area: Olney, Woolly Mammoth (Company Member), Baltimore Center Stage, Everyman Theatre, Contemporary American Theatre Festival, Theatre J, Imagination Stage, Studio, Synetic, Kennedy Center, Gala Hispanic Theatre, dog & pony dc. Education: MFA, UMD College Park.

Venus Gulbranson
Lighting Designer
Regional: Signature: Primary Trust. D.C.-Area: Woolly: My Mama… (Helen Hayes nom.); Akira Kurosawa…; Kennedy Center: 10,000 Dreams; Dragon King’s Daughter; Monumental: Tick Tick Boom! (HH Nom.); Off-Broadway: WP Theatre: The Waterfall; Other: Lincoln Center: Rituel Boulez; Nashville Opera: The Magic Flute; Oklahoma Rep: Vietgone. International: Philharmonie de Paris: Rituel Boulez; LA Dance Project Lighting Director: Sydney Opera House, Philharmonie de Paris, Dubai Opera House, Mupa Budapest, QPAC Brisbane Fest.

David Budries
Sound Designer
Ford’s (Associate Artist): Little Shop of Horrors (2010, 2023), Grace, Guys and Dolls, Into the Woods, The Wiz, Ragtime, 110 in the Shade, Freedom’s Song, The Widow Lincoln, Spelling Bee, Violet, Hello, Dolly!, Our Town, 1776, Parade, Liberty Smith, The Civil War, Meet John Doe, Shenandoah. New York: 11 productions on and off-Broadway. Regional: Hartford Stage, Center Stage, Dallas Theatre Center, La Jolla Playhouse, South Coast Repertory, Yale Repertory Theatre. Mr. Budries is Professor Emeritus of Design at the David Geffen School of Drama at Yale.

Clint Allen
Projection Designer
Ford’s (Associate Artist): Annual Gala (2011-2024), My Lord, What A Night, Into the Woods, The Wiz, Ragtime, Glass Menagerie, Widow Lincoln, Laramie Project, Fly, The Heavens are Hung in Black. Regional: Alley: Communicating Doors, Sherlock Holmes and the Suicide Club, The Farnsworth Invention, Rock and Roll, Underneath the Lintel; Round House: Angels in America, Part One and Two. Other: Delaware Rep: The Mountaintop, The Elephant Man, To Kill a Mockingbird, Juno and the Paycock; Sleepy Hollow (Washington Ballet), Into the Woods, Bring It On, Reefer Madness (TUTS), member of USA829. www.newaspectdesign.net

Daniel Gutiérrez 
Orchestration
Is a Colombian composer, pianist, arranger and musical director whose work spans musical theater, Latin jazz, salsa and contemporary Latin American music. Based between New York City and Colombia, he bridges traditional Latin aesthetics with modern theatrical and orchestral approaches. Recent credits include: Music Director: 50th Anniversary Celebration of Revista ¡HOLA!, Facings (Off-Broadway), On Your Feet! (U.S. National Tour) and currently leads Manteca Blue & The Latin Corner. @danigutierrezmusica

Rachel Hirshorn-Johnston
Dialects and Voice Director
Assoc. Professor of Voice & Speech and Head of Acting & Directing at Texas Tech, Assoc. Teacher of Fitzmaurice Voicework®. Rachel coaches regionally in professional theatre, with private clients (corporate, government) on presentation skills and dialect modification, performs regularly around the country and internationally and is an active member of VASTA, PAVA and AEA. Training: MFA, Acting and Directing, UMKC; BFA, Acting, UMBC.

Craig A. Horness
Production Stage Manager
Ford’s: Sister Act, Little Shop of Horrors (2024); Grace; Into the Woods; The Wiz; Ragtime; 110 In The Shade; Freedom’s Song; Hello, Dolly!; 1776; Liberty Smith; Little Shop of Horrors (2010); A Christmas Carol (2004-2019, 2021-2024); The Civil War; One Destiny; Meet John Doe; Leading Ladies; State of the Union; Big River; The Member of the Wedding. Other: Broadway Sacramento/Music Circus, Baltimore Center Stage, Chicago Symphony Orchestra, Dallas Opera, New York City Opera, North Shore Music Theatre, Opera/Omaha, Portland Opera, Theatre Under the Stars.

Taryn Friend
Assistant Stage Manager
Ford’s: Sister Act, Little Shop of Horrors; SHOUT SISTER SHOUT!; Grace; Guys and Dolls; Into the Woods; The Wiz; Ragtime; 110 In The Shade; Freedom’s Song; Spelling Bee; Hello, Dolly!; 1776; Liberty Smith; One Destiny; A Christmas Carol. Arena: Oklahoma! Signature: Soft Power; Ragtime, The Bridges of Madison County; The Color Purple; Assassins; Passion; A Little Night Music; Jelly’s Last Jam; Sunday in the Park; Miss Saigon; Spin; Hairspray; The Visit; Kiss of the Spider Woman. Kennedy Center: 50th Anniversary Concert; Unleashed!; Bud, Not Buddy.

Jessica Hagy
Assistant Stage Manager
Ford’s: Twelve Angry Men, The Trip to Bountiful, A First Look (2003, 2004, 2005). Regional: Signature: RENT, Hedwig & the Angry Inch, PLAY ON!, Which Way to the Stage, Where the Mountain Meets the Sea, Cabaret Seasons 2023-2025; Shakespeare: King Lear, The Rover, Romeo & Juliet; Round House: School Girls; Curious Incident…, Spring Awakening. D.C.-Area: Folger: As You Like It; Romeo & Juliet; Imagination: P. Nokio. Training: BA Theatre, University of Mary Washington.

Julia Singer
Assistant Stage Manager
Ford’s: The American Five, Mister Lincoln; Something Moving; Trip to Bountiful; My Lord, What a Night; Silent Sky; Fences; Twelve Angry Men; Born Yesterday; Jefferson’s Garden; Death of a Salesman; Who’s Afraid of Virginia Woolf; A Christmas Carol; Freedom’s Song; Driving Miss Daisy. Regional: Signature: Hedwig and the Angry Inch, Hair, Ragtime, Into the Woods; She Loves Me. D.C.-Area: Kennedy Center: The Other Children of the Sun, The Mortification of Fovea Munson; Acoustic Rooster’s Barnyard Boogie: Starring Indigo Blume; Don’t Let the Pigeon Drive the Bus; Me…Jane; Elephant and Piggie’s: We are in a Play! Folger: Love’s Labour’s Lost; The Winter’s Tale.

Kristin Fox-Siegmund
Deputy Director and Director of Programming
Since joining Ford’s in 2006, Fox-Siegmund has overseen the creation of the Frances and Craig Lindner Center for Culture and Leadership, the Center for Education and Leadership and the renovation of the historic theatre and museum, as well as the world premiere productions of The American Five, The Guard, The Widow Lincoln, Necessary Sacrifices, Liberty Smith, Meet John Doe and The Heavens Are Hung In Black. Prior to Ford’s, she spent 11 years at the Alley Theatre in Houston, Texas. Her tenure as Production Manager included premieres of Horton Foote’s The Carpetbagger’s Children, Ken Ludwig’s Be My Baby and Leading Ladies and Edward Albee’s The Play About the Baby and The Goat, or Who Is Sylvia?, as well as Michael Wilson’s production of A Christmas Carol. She oversaw the design and relocation of the theatre’s new production facilities in 2002 and the renovation of its Neuhaus Stage after the destruction of Tropical Storm Allison in 2001. Other work includes Santa Fe Opera and Houston Grand Opera.

Paul R. Tetreault
Director
Since joining Ford’s in 2004, Tetreault has enhanced the quality of the institution’s artistic programming and expanded its mission to include a stronger focus on education. He led a $50+ million capital campaign, the most extensive renovation to the theatre and museum since the building reopened to the public in 1968, and the creation of the Center for Education and Leadership, which seeks to further explore Lincoln’s legacy. Tetreault served as managing director of the Alley Theatre for 10 years, producing more than 100 productions and working with artists such as Edward Albee, Tony Kushner, Trevor Nunn, Nicky Silver, Frank Wildhorn and August Wilson, among others. He has held senior management positions with Crossroads Theatre Company, New Jersey; Berkeley Repertory Theatre, California; and Circle Repertory Company, New York City. He served as director of finance at Madison Square Garden and as a vice president with C.W. Shaver and Company, Inc., a New York management and fundraising consulting firm. He has served as a panelist for the National Endowment for the Arts and has taught and guest lectured at Brooklyn College, Columbia University, New York University, the University of Houston and Rice University. He is a graduate of Emerson College and received his MFA from the City University of New York-Brooklyn College. He serves on the Board of the Downtown DC BID. 

Scenery, Props, and Costumes built by Shakespeare Theatre Company Shops 

Props built by Robyn Wilhelm and Justin Nepomuceno 

Projection equipment provided by Production Resource Group, LLC

The actor and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

United Scenic Artists represents the designers and scenic painters for the American Theatre. 

The technicians at Ford’s Theatre are represented by Locals 22, 772 and 798, IATSE, AFL-CIO, the professional union of theatrical technicians. 

The director/choreographer is a member of the Stage Directors and Choreographers Society, an independent national labor union. 

The musicians of the orchestra are represented by the D.C. Federation of Musicians, Local 161-710.

America’s Anniversary Teaching Resources: 

As the United States marks its 250th anniversary, we invite students to reflect on what the Fourth of July has meant to different people over time. To mark this milestone, we are offering new classroom resources for elementary, middle and high schools, where students can explore how American leaders across eras understood the ideals of freedom and equality. Scaffolded for each grade band, students consider how changing political and social contexts shaped Americans’ ongoing efforts to create a “more perfect union.” 

Visit the Education Resources page to access the new lesson plans. 

Public Virtual Field Trips 

Ford’s Theatre and the Lincoln Assassination 

April 14, 2026, 11 a.m. and 2 p.m. ET 

Learn the story of Lincoln’s assassination from the place where it happened. Explore the world of Civil War Washington, D.C., the events leading up to the night of the assassination and consider its lasting legacies. Participants will look closely at historical and contemporary images including maps, photographs and illustrations and gain a comprehensive introduction to the Lincoln assassination story. 

Virtual Investigation: Detective McDevitt 

April 21, 2026 at 11 a.m. and 2 p.m. ET 

Assist Detective James McDevitt as he investigates the assassination of President Lincoln. Revisit sites and reexamine clues from April 14, 1865. In this interactive, theatrical program, participants will interact with historical characters portrayed by an actor, examine primary source images and hear witness statements to determine who is guilty of this heinous crime. 

Learn more by visiting the Teaching and Learning pages on www.fords.org.

Public Programs 

Cabinet Conversations: Life, Liberty and the Pursuit of Happiness 

April 22, 2026 

The story of America’s founding remains one of contention, evolution and aspiration. President Lincoln considered the Declaration of Independence and Constitution as “an apple of gold” and “the picture of silver subsequently framed around it.” What do these documents reveal about the elasticity of our democracy, and what “unfinished work,” as Lincoln described, remains for us today? 

Legacy in the Making: A Day of Advancing the Unfinished Work 

May 17, 2026 

In honor of the 250th anniversary of the founding of the United States, this symposium will explore the enduring relevance of the principles articulated in the Declaration of Independence and their continued influence on the American identity, values and civic responsibilities. 

Museum & Trivia Night 

June 26, 2026 

Ford’s Theatre opens its doors after-hours as part of Civic Season! Explore the theatre and museum, team-up for Lincoln and Civics Trivia and nerd-out in good company with fellow history and theatre lovers. 

Visit the Public Programs page at www.fords.org for more information. 

These programs are offered in commemoration of the 250th anniversary of the Declaration of Independence.

Ford’s Theatre education programs are supported by Bloomberg Philanthropies, BP America, D.C. Commission on the Arts and Humanities, The Hearst Foundations, The Honorable Anita B. and The Honorable Timothy J. McBride, National Park Service, PwC, Southern Company, United Airlines and Visa Inc. with additional support from Cornelia T. Bailey Foundation, Dr. Scholl Foundation and Nancy Peery Marriott Foundation.

Historic Site Visits

A visit to Ford’s Theatre traces the story of Abraham Lincoln’s presidency, assassination and legacy. Whether for a brief visit or for the full experience, Ford’s will deepen your appreciation and understanding of America’s 16th president. Admission is free; advance tickets have a convenience fee. The Ford’s Theatre campus traditionally includes: 

• Museum: Learn about Lincoln’s presidency from his inauguration to his arrival at Ford’s Theatre the night of April 14, 1865. See artifacts related to his presidency and assassination.
• Theatre: See the recreated historic theatre and learn the key facts of the assassination from National Park Service Rangers.
• Petersen House: Explore Lincoln’s final moments in the house where Lincoln died.
• Center for Education and Leadership: See the Aftermath Exhibits exploring what happened following Lincoln’s assassination, the hunt for John Wilkes Booth and the lasting impact of Lincoln’s legacy.

Our visitation schedule varies. Parts of the campus may not be available at the time of your visit.

Box Office Hours

• When there is an evening performance: 8:30 a.m. to 8 p.m.
• When there is no evening performance: 8:30 a.m. to 5 p.m.
• When there is a History on Foot walking tour: 8:30 a.m. until the tour begins.

Groups

Groups (10 or more people) save on mainstage performance tickets, have priority access to the best seats in the house and have flexible payment options. Contact groups@fords.org or (202) 638-2367.

Accessible seating is offered in both the rear orchestra and the balcony sections.

GalaPro closed captioning will be available for all performances starting March 13, 2026. Search for GalaPro on the Google Play or Apple Store and download the app.

An audio-enhancement system is available for all performances. Devices are available on a first-come, first-served basis. Please check with an usher. 

Audio-described performances of 1776 are March 25 at 7 p.m., April 9, 2026 at 7 p.m. and May 2, 2026 at 1 p.m.

. 

Sign-interpreted performances of 1776 are April 16, 2026 at 7 p.m. and May 9, 2026 at 1 p.m. 

A sensory-friendly performance of 1776 is April 25, 2026 at 1 p.m.

Learn more about accessible performances at fords.org/visit-us/accessibility.