‘Assassins’ – Music and Lyrics by Stephen Sondheim. Book by John Weidman. Courtney O’Connor (Director). Dan Rodriguez (Music Director). Ilyse Robbins (Select Choreography). Baron E. Pugh (Scenic and Lighting Design). Rachel Paula-Shufelt (Costume Design). Alex Berg (Sound Design). At Lyric Stage, Clarendon Street, Boston, through October 15, 2023.
by Linda Chin
Like the late composer-lyricist Stephen Sondheim, Lyric Stage has not shied away from exploring challenging themes or dark material. But opening a theatre season in the angry aftermath of a post-Trump America with one of Sondheim’s less familiar works – about violent attacks on U.S. presidents, no less – is a risky proposition. Assassins takes us into the minds of nine men and women who gained notoriety through our nation’s history because they killed (or failed to, but gave it a good shot) former Presidents Lincoln, Garfield, Roosevelt, McKinley, Nixon, Ford, Reagan, and Kennedy). Not exactly uplifting fare, but in the capable hands of director Courtney O’Connor, music director/conductor Dan Rodriguez and his four-piece orchestra, and 15 outstanding actors, audiences can expect a thoroughly engrossing and entertaining theater experience.
The production is set in a clubhouse of sorts where the assassins hang out – a two-story wall of rough-hewn wooden planks with brown/reddish tints with three window cut-outs on the upper level, working doors on the lower, the stage platform, stage left and right staircases, and aisles let in varying shades of grim (scenic and lighting design by Baron E. Pugh). The costumes designed by Rachel Padula-Shufelt befit the characters’ distinct historical periods and are mostly part of a subdued, earth-toned palette. The designs convey an overall mood of bleakness, depression, hopelessness, and blending into the background.
With narration (à la Into the Woods) by a carnival proprietor/barker (a smooth and sure-footed Jackson Jirard) and a banjo-strumming balladeer (the melodious-voiced and versatile Dan Prior), the story unfolds through words and song. The characters – who seem to lack social capital in general – relate vignettes about their lives to one another and to us and utilize simple props in their storytelling – a handwritten cardboard sign, a cassette tape recorder, a bucket of KFC chicken, a large, overstuffed purse. A full-sized rifle wielded by Lee Harvey Oswald (also played by Dan Prior) adds gravitas to one of the final scenes, but instead of props, the actors mimic handguns with finger gestures, with synchronized gunshots in place of the ‘bang-bang’ noises from child play (sound design by Alex Berg).
Compellingly told and exquisitely paced, Assassins draws you in like an inviting warm bath and gives you the opportunity to go into listening mode and soak it all in for 90 minutes, uninterrupted by an intermission. The absence of overstimulating visual elements, crowded dance numbers that overwhelmed the small stage (select choreography by Ilyse Robbins added just the right touch), and an orchestra overamplified at the expense of hearing the dialogue (and Sondheim’s lush lyrics and brilliant rhyming couplets!) added to my enjoyment of the performance.
Talent abounds in this production, but Lisa Kate Joyce’s charming banter as the quirky Squeaky Fromme and Phil Tayler’s unnerving outburst of paranoia in his monologue as Samuel Byck (in a well-worn red Santa suit) were standouts. I also found the scene between Kristian Espiritu, as the warm and spirited Emma Goldman, and Daniel Forrest Sullivan, as the forlorn, isolated immigrant Leon Czolgosz, particularly moving. It restored my faith in the power of connection between strangers from different backgrounds/walks of life and the power of theater to remind us of our shared humanity. For tickets and information, go to: https://www.lyricstage.com/
