Tag Archives: Assassins

Assassins

Assassins

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Watermill Theatre

Assassins

Assassins

Watermill Theatre Newbury

Reviewed – 30th September 2019

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“knocks the socks off the original cast recording”

 

β€œAttention must be paid”. Towards the end of his musical β€˜Assassins’, which had a triumphant performance at the Watermill Theatre in Newbury last night, the legendary Stephen Sondheim quotes this line from Arthur Miller’s β€˜Death of a Salesman’.

β€˜Assassins’ is a musical that asks just exactly what would make ten Americans want to kill eight Presidents, from Lincoln to Reagan. The answer lies in that quote, which neatly also describes the audience’s rapt concentration during a quite extraordinary show. And if you are thinking that the killing of presidents and the fate of their would-be assassins is a rather macabre subject for a musical, be re-assured. Although it carries a 14+ advisory, this is an altogether entertaining and most thought-provoking show.

The Watermill has a history of championing eight times Tony award-winning Sondheim, whose work is held in such awe that even the most august critics are reduced to scrabbling autograph hunters in his presence. β€˜Assassins’ is by no means his best-known work, but it is perhaps his most intriguing.

Not long into the piece, which had its premiere off-Broadway in 1990, the character of the Balladeer (here played with great presence and likeability by Lillie Flynn) sings β€œEvery now and then the country goes a little wrong. Every now and then a madman’s bound to come along” And if you are thinking that line has more than a little resonance today, I suspect Sondheim would agree with you.

Space is tight at the Watermill, making any performance an intimate and involving experience. Director Bill Buckhurst has cleverly used a Coke machine to replace the fairground shooting gallery specified in the script, and Simon Kenny’s set design is starkly effective, with some ingenious twists towards the end.

It’s a little invidious to highlight standout performances in such a tight ensemble work, but several deserve special mention. Steve Simmonds’ has two brilliantly intense monologues as Samuel Byck, who planned to hijack a 747 to kill Nixon. Zheng Xi Yong gives a sinuous and wonderfully committed performance as Giuseppe Zangara who attempted to assassinate FD Roosevelt.

Evelyn Hoskins (Lynette β€˜Squeaky’ Fromme) and Sara Poyzer (Sarah Jane Moore) have some excellent scenes. Poyzer plays a cookie ex-Fed, nicely contrasting with Hoskins’ weed-toting take on mass-murderer Manson’s moll. Eddie Elliott has a powerful charisma as Charles Guiteau, especially in the difficult key-changing number he sings so brilliantly just before his character walks to the gallows. Joey Hickman has a menacing glassy-eyed demeanour as the Proprietor of this captivating parade of human failings. Alex Mugnaioni is eerily compelling as β€˜the pioneer’ – the first Presidential assassin, John Wilkes Booth. Ned Rudkins-Stow has the task of bringing to life John F Kennedy’s assassin, Lee Harvey Oswald. The traumatic impact of this murder on the American mindset resonates to this day, and Rudkins-Stow’s lean interpretation makes it crystal clear that Oswald was a simple-minded victim of manipulation.

Catherine Tyler is responsible for the compelling orchestration, which makes the most of the entire cast’s astonishing musical abilities, requiring some of them to play one instrument whilst holding another, and to jump seamlessly from drums or keyboard to appearing centre stage. Expert choreography by Assistant Director Georgina Lamb ensures it all works smoothly.

This version of β€˜Assassins’ knocks the socks off the original cast recording and is strongly recommended.

 

Reviewed by David Woodward

Photography by The Other Richard

 

Assassins

Watermill Theatre Newbury until 26th October

 

Previously reviewed at this venue:
Burke & Hare | β˜…β˜…β˜…β˜… | April 2018
A Midsummer Night’s Dream | β˜…β˜…β˜…β˜… | May 2018
Jerusalem | β˜…β˜…β˜…β˜…β˜… | June 2018
Trial by Laughter | β˜…β˜…β˜…β˜… | September 2018
Jane Eyre | β˜…β˜…β˜…β˜… | October 2018
Robin Hood | β˜…β˜…β˜…β˜… | December 2018
Murder For Two | β˜…β˜…β˜…β˜… | February 2019
Macbeth | β˜…β˜…β˜… | March 2019
AmΓ©lie | β˜…β˜…β˜…β˜…β˜… | April 2019
The Importance Of Being Earnest | β˜…β˜…β˜…β˜… | May 2019

 

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Assassins – 4 Stars

assassins

Assassins

Pleasance Theatre

Reviewed – 22nd March 2018

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“a commendable production of a show that seems more significant than ever”

 

As we are in the midst of shaky political times, where uncertainty is widespread, and volatile tyrants lead some of the world’s most powerful nations, it seems only right to revive a musical that follows the anger and frustration of citizens who put all their blame on the heads of their government. Stephen Sondheim’s darkly humorous Assassins, whose last London revival was three years ago, now comes to the Pleasance Theatre with a highly pertinent, and thought-provoking adaptation. It is one of the King of Broadway’s less well-known productions, yet, it still blends some of Sondheim’s most recognisable qualities of bringing challenging yet powerful stories to the foreground.

Starting as a murderous fairground game that offers the gun-slinging attempt to β€˜Hit The Prez’, it unfolds into the true-life tales of the nine men and women who have tried, or, succeeded in assassinating the President of the United States. Set in the Vaudeville/Revue-style of yesteryear, we in turn focus on each person’s story, getting a better understanding as to his or her motivations. Whether it is fame, notoriety, delusion, or simply a troublesome stomach pain, each assassin has a reason for wanting to strike.

The use of a brilliant revolving stage helped to establish the swift variety performance style, yet there were moments, particularly halfway through, where the pace seemed to be lacking. Musical Director Jordan Clarke did a fine job at leading the small group of musicians through Sondheim’s demanding score, whilst the rather large cast all gave commanding performances, with not one weak link. Particular standouts were Andrew Pepper as Charles Guiteau, whose eccentric characteristics resembled that of crooked Fagin, and Alfie Parker as Samuel Byck, whose one-sided rant into a tape recorder, meant for Richard β€˜Dick’ Nixon, is a standout scene.

A nod to Donald Trump is made towards the end, which rather forcibly and heavy-handedly reminds the audience that this show is relevant to the present climate. Anyone with half a brain could already make the connection, so it feels like an unnecessary gimmick, however, regardless of the unwarranted ending, this is a commendable production of a show that seems more significant than ever.

 

Reviewed by Phoebe Cole

 


Assassins

Pleasance Theatre until 8th April

 

 

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