"Assassins", a decidedly non-traditional musical by John Weidman and Broadway superstar Stephen Sondheim, taps us into this same world. Only in "Assassins", we aren't connecting to a mythical super hero. We are connecting to every American who as either killed or attempted to kill a U.S. president. In an incongruous, carnival-like setting, famous assassins like John Wilkes Booth and less famous ones like Leon Czolgosz (who killed President William McKinley) share space with those who attempted to kill a chief executive, people like Squeaky Fromme (Gerald Ford), John Hinckley, Jr. (Ronald Reagan), and Sam Byck (Richard Nixon). They tell their stories through song, and present a dark side to that collective unconscious: the part of us that is fascinated by their monstrous deeds, dissatisfied with America as much as many of them were, and wishes to make our mark in history. The show suggests that they live in us and we aren't much different from them. They were just willing to do things that we would never dream of.
The daring musical was big on the college circuit in the 90s, but quickly became obscure. Most likely, frank talk of killing presidents and crashing hijacked 747s into the White House didn't go over very well after September 11, 2001. Mysterium Theater, never afraid to experiment, has brought it back. Theater fans should be grateful because this is a fascinating play with wonderful music and intricate, thought-provoking lyrics. It is a sign of how strong the music and ideas behind it are that, even though the scenes are only loosely stitched together and there is no real plot, it is still a thoroughly satisfying and enjoyable piece of theater.
Two characters act as narrators. The Proprietor, dressed as a carnival barker, seems to represent the wishes and desires of the killers, who were willing to do the worst if it meant they could get their "prize." The Balladeer sings us through the four successful assassinations. He helps us understand the motives of each killer, how they did it, and what happened to them. He also tends to represent American idealism and uncomfortable reminds each assassin that, in the end, they never got what they wanted. John Blaylock is appropriately dark as The Proprietor and Nicholas Palmer sings The Balladeer with bright eyed zeal. In a new twist to the show, the assassins ultimately turn The Balladeer into Lee Harvey Oswald, which makes Palmer's early idealism all the more tragic. It's a brilliant move that suggests that all of us, even the most optimistic, have that dark side within us.
Leading the killers is Garret Chandler as the "pioneer" of American assassins, John Wilkes Booth. Chandler does an admirable job, although he tend to rush through some of his important lines. The strongest successful assassin is Duane Thomas as the little known but very colorful Charles J. Giteau, who killed President James Garfield. Each successful killer gets a Ballad to himself, and Giteau's is a showstopper. It mixes solemn, fearful prayer with a high energy, one-man kick line as Giteau approaches the hanging scaffold. The number is gallows humor at its best, and Thomas delivers.
Here's a great version of it with Neil Patrick Harris as The Balladeer:
Leon Czolgosz is such a tragic character. He provides the perspective of the turn of the 20th century, laboring immigrant and reminds us all just how much human labor and pain goes into everything we use in life, even simple items like bottles. Imagine the anger a modern sweat shop worker would feel watching you throw out your Nikes because they're a little dirty. Aaron Lyons brings us into Czolgosz's tortured world; he always has a faraway look on his face that emphasizes how much his character was changed by his horrid life in the factories and hints at his plots to get even.
The unsuccessful assassins have their own moments to shine. They are presented as losers, either doing what they did to impress another, for some nebulous dream of saving the country, or for no real definable reason at all. Luis Ceja's John Hinckley, Jr. is appropriately withdrawn as he pines for his teenage movie star; Gabby Trainor as Manson Family acolyte Squeaky Fromme is just the right amount of dreamy, hippy, and pathetic as she pines for her mass murderer/lover, Charles Manson. Together, they sing the show's signature number "Unworthy of Your Love," each addressing their own obsession. It's really a powerful piece, and these two singers bring out its power while also reminding you just how mentally ill they both really are.
The least well known would be assassins may be the highlights of the show. Sam Byck, an unemployed tire salesman who tried to crash a plane into the White House in 1974, is given a full-throated and sensitive portrayal by Daniel Berlin. Byck's best moments are his two monologues where he records tapes about his plans to send to celebrities and leave behind to explain his motives. The monologues are both hilarious and tragic, and Berlin strikes that balance perfectly.
Sara Jane Moore, a bumbling CPA who bungled her attempt to kill Gerald Ford, adds a spice of fun to this show about murder. Sarah Meals gives full life to her characters quirky ideas and confusing life, all the while emphasizing her down home charm. Even after the assassination attempt, you still might want to go over to this Moore's house for a Sunday evening fried chicken dinner.
Like it or not, these notorious historical figures are in America's shared Immateria. As the Ballad of Booth emphasizes, once the first president was assassinated, the idea appeared in our national story. Once it was there, it remained constantly in the back of our country's mind. These are haunting personalities, always reminding us of America's imperfections- somebody always loses, and sometimes that somebody looks for revenge. "Assassins" confronts that uncomfortable element of our collective unconscious, leaving us with the sad truth that, for some, there really is "Another National Anthem."
"There's another national anthem, folks,"
"For those who never win:"
"For the suckers"
"For the pikers"
"For the ones who might have been..."
Tags: excalibur merlin uspto large entity small entity determination guises of the morrigan patiality geography reflection material rf continuing relationships to the beyond
