By Karen Isaacs
The Yale Rep is producing the musical that Steven Sondheim considers one of his best – Assassins through April 8.
Sondheim and book writer John Weidman have interwoven the stories and motivations of eight individuals who either attempted to or succeeded in assassinating the President of the U.S.
Through this, they explore both our national inclination to violence, our celebrity culture and the alienation of these individual to our society.
Some of these people you will know but others have become mere footnotes in history books or totally forgotten.
The show is set in an arcade with a shooting gallery like those that give out stuffed animals and other cheap prizes at carnivals. But here the gallery says “Shoot a President” and the prize is fame or infamy. The assassins all have a grudge of some sort and lashing out at the office of President is one way they think that they can assuage it. For some, the grudge is more a result of mental illness or delusions than any reality. The reasons often have nothing to do with politics or policies.
The musical – which is one act, approximately 100 minutes long – opens and closes with the two most famous assassins – John Wilkes Booth and Lee Harvey Oswald. In “The Ballad of Booth” we envision his last moments before he is shot and killed. His rationale is very clear: to him, Lincoln destroyed the South and became both a dictator and traitor. Booth famously said, “Sic semper tyrannis” (Latin for “Thus always to tyrants,”) after shooting Lincoln. But the Balladeer (a folk singer character who comments on much of the action) wonders if Booth didn’t do it because he was losing his acting talent and was envious of his brother, Edgar who was the first great American actor.
It seems as though Booth is often on the scene either commenting on the action of the others or egging them on.
As the musical progresses, the lives and actions of the other assassins intertwine. We meet Giuseppe Zangara who attempted to kill President-elect Franklin Roosevelt in Miami and did kill the mayor. We meet Charles Guiteau who killed President Garfield; he wanted to be ambassador to France and to sell his book. Then there is Leon Czolgosz who killed McKinley. His motives seem to concern the plight of the working man of the period.
Of course, there are the more recent assassination attempts: these are represented by four deluded individuals. Samuel Byck planned to kill Nixon by high jacking a plane and crashing it into the White House. Both Lynette “Squeaky” Fromme and Sara Jane Moore tried to kill Ford, in almost laughable attempts and John Hinckley did shoot, but not kill Reagan out of love for the actress Jodi Foster.
The final episode is Booth and the others urging Lee Harvey Oswald to shoot Kennedy. Booth tells him it is the only way he will be famous and the others believe his act will revive their fame.
Sondheim’s music often reflects the popular music of the period, with Booth getting a ballad and Guiteau a cakewalk. The songs reflect the attitudes – Booth and the others sing at the end “everybody’s got the right to be happy.” Hickley and Fromme sing of their love for Jodi Foster and Charles Manson, respectively.
Despite the dark subject matter there is humor. Sara Jane Moore seems to constantly be either losing her gun in her voluminous purse or shooting it off accidently, frightening all around her. Guiteau swings between religiosity (“I am going to the Lordy”) to desire to promote his book. Samuel Byck carries on long imaginary conversations with Lenny Bernstein and other celebrities of the late ‘60s.
A group of bystanders comment on the action and at times play the various victims.
James Bundy, the director has used a variety of visual effects to create the scenes. On the sides of the University Theater, are projections often of the targets of the assassins. The shooting gallery is dark – no flashing neon lights drawing people in.
Casting is crucial for this piece, and Yale has assembled a fine cast of actor/singers. Robert
Lenzi has the good looks of an actor for Booth as well as a fine voice; Stephen DeRosa overplays the humor as Guiteau but P. J. Griffith gives a touching portrait of the immigrant working man, Leon Czolgosz. As the two women, Lauren Molina creates a fanatical “Squeaky” Fromme and Julia Murney is convincing as the more maternal but equally scattered Sara Jane Moore. Lucas Dixon shows us a bland John Hickley, while Stanley Bahorek presents Zanagara as a man who attempted to kill FDR because he had a constant stomach ache. Richard R. Henry is talkative Samuel Byck.
All of them sing well. Credit should go to the lighting by Yi Zhao and sound by Charles Coes and Nathan A. Roberts and the projections by Michael Commendatore. David Dorman did the choreography; I would have liked more references to the dances of the period in which the assassinations occurred.
Assassins is both entertaining and chilling. It should encourage all of us to consider what the American dream is and how those who cannot achieve it react.
For tickets, visit Yale Rep or call 203-432-1234.
By Karen Isaacs
As I was watching the Fiasco Theater’s “intimate” production of Into the Words now playing at Roundabout’s Laura Pels Theater, I felt out of place. Many in the audience were laughing heartily and enthusiastically applauding. I was not. And the acclaim was not universal — there were more than a few empty seats after the intermission.
In fact, I was trying figure out why this iconic work — which has just had a very excellent film adaption — was being given a SNL treatment.
In part I blamed John Doyle. For those don’t remember, director John Doyle has mounted several classic shows with limited casts and no orchestra. Instead he used a piano and had the actors play various instruments. Obviously when they are performing their roles, they cannot play. In this production, the result is a score and orchestrations that seem more like amateur groups than Broadway. While it worked to some extent in Doyle’s Company and to a lesser extent in his Sweeney Todd, it does not work here.
When you re-imagine a classic work, one rule should guide the creators — does the re-imaging add to the meaning of the work and does it fulfill the author’s intentions and the themes and tone of the work. OR does it subvert what the authors intended or diminish the work. This is true whether you are setting Othello in South Africa, A Doll’s House in 21st century suburbia, or Oklahoma1 in Alaska.
By the way, this production originated at the McCarter Theater in New Jersey.
Here, it is not that the directors have changed the time or period of the piece, so much has they have changed the tone. This production is played for laughs — not smiles or gentle amusement but laughs. It has become a parody of itself.
I wonder how Stephen Sondheim and James Lapine really feel about it.
I did not have an objection to the cast of 11 playing multiple roles — the fact that the actress (Emily Young) playing Little Red Ridinghood also plays Rapunzel did not upset the flow of the piece. After all the two are never on stage at the same time. Nor did I strongly object to two men playing Cinderella’s step-sisters. But the two princes riding around on children’s hobby horses just made it seem ludicrous.
So apart from the misguided approach to the show, were there things to like?
Yes. The setting was imaginative and worked for the show. Chandeliers hung high above the stage, with pieces of musical instruments on the side walls. The costumes — which are minimal — are clever and do delineate the characters. Even though performers are playing multiple roles, you never are confused about what character is being portrayed.
The performances are good — these are talented young people. The Fiasco Theater is an ensemble company that was started by graduates of the Brown University/Trinity Rep MFA program. They can act, move and sing well. I particularly enjoyed Patrick Mulyryan as Jack and Jessie Austrian as the Baker’s Wife and Ben Steinfeld as the Baker. By the way, the latter two only play a single role each.
But somehow, the schtick and gimmicks drain the emotion from this piece.
So, I may be a curmudgeon, but this is one Into the Woods that I did not enjoy.
Into the Woods by the Fiasco Theater Company is at Roundabout’s Laura Pels Theater at the Harold and Miriam Steinberg Center for Theater on W. 46th St. It runs to April 12. For tickets contact Roundabout.