Assassins

Rating:
Summary: Shocking, relevant, hilarious, and disturbing
Review: This review is by Crosley.

I had become very well acquainted with the score to Assassins before I read the script, and I think John Weidman may have done the impossible: he may have overshadowed Sondheim's score with his book. Don't get me wrong, the music and lyrics are phenomenal, but the book is what really matters in this one.

Assassins is an examination of the dark side of the American Dream and those it has affected, namely, those who have tried to kill presidents. Most of the assassins actually have good reasons for their efforts. The play has gained a lot of bad publicity for "glorifying assassinating the president," "being unpatriotic" and "trivializing terrible events." The play does none of these on any level. I said that some assassins had good reasons. I did not say that their actions were the right thing to do, because they weren't. However, the play rehumanizes people that society has dismissed as one dimensional madmen. Hence, the Balladeer. The Balladeer represents the traditional, one sided view of the assassins, and is used expertly. The play keeps in mind the fact that the assassins are dangerous people who should be condemned, but it also keeps in mind that they are indeed people. The scene between Csolgosz and Emma Goldman is wonderfully poignant, and allows us to see a side of Csolgosz rejected by the world, and it's things like that that make the characters much more real.

By making the characters real and at least vaguely sympathetic, the play succeeds in such a way that could never be done with demonized characters. Since the assassins are made human and just like us, Americans trying to live The Dream, they are infinetly more terrifying and frightening, because now we can identify with them, and see the clear and present danger in America.

They all have different motives, but there is one thing that ties them all together. They thought The Dream was not a goal, but something they were entitled to, and when they didn't get it, they wanted people to listen. Hence, drastic measures. Booth's anger with Lincoln is very real, and the crimes he lists against Lincoln are all true to some degree. Csolgoszs' anger at the working man's plight is completely justified, considering his working conditions and wages. Few of them have motives that we can't understand (except Moore and Guiteau), and again, they are that much worse because of it.

This is not to say that the play is not funny. Au Contraire, Assassins is one of the funnier plays I've read, mostly because it preys upon the assassins' character flaws and quirks and exploits them for some great comedy. They're even funnier if you know about the personalities of each for whatever reason. For example, regarding the scene where Guiteau hits on Moore, it was known that Guiteau hit on anything with two legs (usually unsuccessfully), and Moore, who had been married five times (each husband was more successful than the last), may have been roped in by Guiteau's line of "How would you like to marry the ambassador to France?" It's really quite good. The scenes between Moore and Fromme are priceless, as are Byck's rants into his tape recorder, hamburger in hand. "I am Unworthy of you Love" is a gorgeous song, and in context (being sung to Jody Foster and Charles Manson by John Hinckley and Squeaky Fromme, respectively), it's uproarious. Thank God for Weidman's wit, because this is a show that definetly needs comic relief.

The interesting idea that the play presents is that the assassins are just as American as anyone else, because America is "The land where any kid can grow up to be president," and likewise, "Any kid can grow up to be his killer." Comedy, tragedy, laughs, tears, a message, great music, Assassins has it all. The scene near the end with Lee Harvey Oswald is one of the most powerful scenes I've ever read. In fact, it was recorded on the soundtrack, because it's just that important. Delaying Oswald's appearance for so long was a great move, because the audience, after being emotionally assaulted by the other 8 assassins, is finally pushed over the edge with an event that most of them were alive for and remember. The triumphant chords after Oswald's shot give me shivers every time I hear them.

Assassins is a phenomenal play that unfortunately is rarely produced. I recommend reading the script and enjoying the excellent score to people looking for something a little different (hey, that's Sondheim for you), a little funny, and a little scary. The show will live on because of its relevance, and it's a wonderful addition to the American Musical Theater.

Rating:
Summary: One of the most compelling musicals of all time.
Review: Unbelievable -- stunning, tragic, poignant, frightening; Sondheim and Weidman take one of the most bizarre subjects for a musical and make it totally accessible. It's a piece of theatre which doesn't just revolve around assassination, but examines what it is and what it means (or should mean) to be an American. There are moments of high hilarity (the almost vaudevillian comedy teaming of would-be Gerald Ford assassins Sara Jane Moore and "Squeaky" Fromme) as well as moments of heartbreak and pathos (the monologues of Sam Byck, who highjacked a jetliner and attempted to crash it into the White House in order to kill Richard Nixon). Certainly not a piece of musical theatre for all audiences or all tastes, but one which is compelling, innovative, and thought-provoking. A must for all fans of Stephen Sondheim's work, or for deep and complex works of theatre in general.

Rating:
Summary: Not Only Entertaining - But USEFUL!
Review: Unfortunately, too few people in mainstream America have ever heard of 'Assassins' the darkly-comic musical theatre masterpiece by Stephen Soundheim and John Weidman. While it is sad, the public's apathy toward this ingeniously-written musical actually came in useful to me this past year. A participant in high school Speech, my partner and I were searching for the 'perfect' piece that would give us success, something achieved in past years, but not to the highest levels. Veterans of the Speech circuit, and this being my final year in the program, we were looking for something that would really stand out from the competition. Almost by accident, I came across a copy of 'Assassins' and soon saw its potential. Scene 16 (a seemingly-impossible exchange between Kennedy assassin Lee Harvey Oswald and Lincoln killer John Wilkes Booth) is one of the most creative scenes of any play I have ever seen, and after examination by both my partner and I, we knew we had a winner. In addition to its unusual setting (something judges love), it blended the right amount of humor, suspense, and irony to put all other speakers simply out of the race. Thanks to Soundheim and Weidman, Nick Cook and Brad Mariska (that's me!) took home first place trophies at a number of meets during the regular season and advanced through the sub-seciton, section, and state prelims, into the final round of the state speech tournament. While we didn't take home the title, we were crowned as the 5th best speech team in Minnesota, and all audience members there that day certainly agreed (despite the results) that 'Assassins' was the most unusual and interesting piece competing that day. And we couldn't be happier.

Rating:
Summary: As-sass-i-nate The Positive
Review: Upon a simple coincidence did I perchance to read a play that altered my perception of musical theatre forever. For years Stephen Sondheim has directed himself toward the darker side of the theatrical spectrum (i.e. Sweeney Todd: The Demon Barber of Fleet Street; Pacific Overtures) and when I picked up this play, I had very low expectations. After all, how can one sing and dance after shooting a president? Apparently very easily, and quite profoundly. Immediately after receiving this masterpiece of literature I purchased the CD. Folllowing this, I tried to get my high school to produce it, and I would direct, as I had a vision in my mind (the words and visual imagery are both so powerful, one can't help but imagine it). Three and a half years of trying to persuade the district to allow my madness to exist, a sister high school allowed me, this spring of 2000, to direct the final sequence for a play of one-acts. Needless to say, the thrill of watching an audience sit through one of the most disturbing scenes ever wirtten was too good an experience to pass up. It goes up in a few weeks (as of March 18, 2000), and it should knock the socks off such a conservative community as mine... The play is a marvel of the spoken word, and one can't help but wonder: Does everybody have the right to be happy? Apparently so--you can buy this book, after all.

Rating:
Summary: Life's a Byck
Review: Well, I was not very well aquainted with Sondheim, though I had heard of him. Then I was fortunate enough to be cast as Sam Byck in a production of Assassins. I have to say, the show was an experience like I can only hope to have ever again. Weidman's writing brings to life thoroughly disturbed characters in a way the audience can relate to. It shows us the world of a psychopath- looking out from the inside. My first thought was to question whether I could do justice to the material. The incredible intensity of the scenes and the forceful emotion of the songs is nearly overwhelming. From the actor's point of view, I can say only that a sense of desparation is omnipresent, even in the comedy, and that there is the feeling of a great injustice, and perhaps an epiphany that never quite came. I encourage anyone who can to try and acquire a copy of the London production( I don't know if there are any official ones, but as any theatre enthusiast knows, there are ALWAYS bootlegs), or of the new production when it becomes available, because of the added song "Something Just Broke". This incredible piece serves as an important... I think the word is catharsis. I remember crying backstage during the first show, because it put a sharp point on the events of the previous scene, where Oswald takes his shot. The play itself also brings into focus the background of the assassins, and those lesser-known souls who tried and failed( like Byck). While it won't appeal to everyone, it is definitely worth looking into for Sondheim lovers and US History buffs. And serious performers will find the songs and text rich with meaning. I recommend this show, libretto and music, to anyone with an open mind, or a love of art.

Rating:
Summary: Amazing, provocative play
Review: When I went and saw "Assassins" for the first time, I honestly wasn't sure what to expect. I've been a Sondheim fan ever since I began watching "Into The Woods" at the tender age of four years old... but I don't think I was sufficiently prepared for "Assassins". And that's a good thing.
"Assassins" keeps you on your toes throughout, being able to make dramatic changes from the light-hearted to the tragic in the time it takes to bat an eye. Perhaps most striking is how you come to like and sympathize with every one of the assassins, while still knowing that they all have their dangerous streak.
Moreover, "Assassins" deals with a common subject in a very uncommon way. The overall 'theme' says "Everybody's got the right to be happy." The brilliance in this statement is not in the statement itself, but within the context of the cold-blooded murderers with it has been placed. It gives us the lesser seen perspective of life from the point of view of these historical figures who had major problems with their lives and with themselves. Rare, even in the history books.
In fact, "Assassins" has been a better history lesson for me than nearly anything else. The play is very highly based on the facts of every person's life and the details of their assassination attempts. Good for theatre buffs and history teachers alike.
Go Sondheim, go!