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Musical critique and history lesson
"Everybody's got a right to their dreams," sings the cast of BirdLand Theatre's production of Stephen Sondheim's 1990 musical Assassins.
And also you quickly realize that this dream is staring down at you from the wrong end of a clip or barrel,[link widoczny dla zalogowanych].
What this low-budget effort lacks in glitz, it more than comprises in sheer theatrical power. In the play's opening at the Theatre Centre on Thursday night,[link widoczny dla zalogowanych], there wasn't a single character,[link widoczny dla zalogowanych], step, line, note or facial expression out of place within this arresting effort.
It has been nearly 2 decades since Sondheim confounded musical theatre fans having a satirically funny twist on some pretty dark subject matter: the folks who aimed a gun at a united states president,[link widoczny dla zalogowanych].
Above all else, this play is about the delusional potential of self-affirmation - a subject as topical today because it was in 1990. If anything, modern times of war,[link widoczny dla zalogowanych], terrorism and perpetual security alerts juxtaposed against reality television and celebrity stalkers have given this play more of an advantage than ever before.
Is Assassins a history lesson, a critique of social and political mores, or perhaps a musical worthy of our entertainment time and money?
All of the above,[link widoczny dla zalogowanych], and then some.
Veteran Toronto theatregoers likely have not forgotten the superb Canadian premiere of Assassins directed by Jordan Merkur a decade-and-a-half ago. This latest mounting, directed by Adam Brazier and musically led by Reza Jacobs must make no apologies.
In the spirit of latest retoolings of Sondheim's Company and Sweeney Todd, the cast happen to be given instruments to play,[link widoczny dla zalogowanych], which integrate seamlessly into the songs and dialogue.
And they are all superbly cast in their appointed killers, and wannabes. Paul McQuillan's John Wilkes Booth,[link widoczny dla zalogowanych], Steve Ross as Charles Guiteau, Jay Davis as Giuseppe Zangara,[link widoczny dla zalogowanych], Mike Ross as Leon Czolgosz, Geoffrey Tyler as Lee Harvey Oswald, Graham Abbey as Samuel Byck and Christopher Stanton as John Hinckley all find just the right balance of bluster and pathos in their deathly pursuing recognition and immortality.
Are all given a strongly delineated character to utilize, and every explores that character to its fullest potential without ever crossing the road into true parody. It will help preserve each man's basic humanity inside the craziness, helping everybody in the audience recognize him in certain small way.
Trish Lindström, as Lynette (Squeaky) Fromme and Eliza-Jane Scott as Sara Jane Moore really are a power duo because the two misfit disciples of Charles Manson who unsuccessfully attempted to bump off Gerald Ford.
Beth Kates works wonders with the practically non-existent set and a handful of props,[link widoczny dla zalogowanych], while Gareth Crew's subtle lighting always knows where you can place our focus, and hang the mood.
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