A Stephen Sondheim musical, so expect the unexpected!
Sondheim never repeats himself, so each new show is a surprise and nothing was more surprising than Assassins It had its premiere in New York at a small experimental theatre, Playwrights Horizons, with almost the same number of seats (147) as the GWT. This was in January 1991 and it came at the time of the Gulf War when patriotism was being exploited in support of US troops in the Middle East and, not surprisingly, that first production met with some resistance. After its limited season, it didn't transfer to Broadway. Assassins puts the ethics, aspirations and optimism of the commonly-held philosophy of citizens of the United States under the microscope. It examines the American Dream and it is revealed as a nightmare. The irony of the song Everybody Has the Right to be Happy is made blindingly clear when the singers are handling guns to pursue their goals of happiness.
Assassins is a deeply ironic show with a vein of dark humour which, fifteen years after its first outing, has become truly appreciated. Sam Mendes's 1992 production in London was the first step towards re-assessment and in 2004, in a darkly changed world, a new Broadway production was rewarded with five Tony awards and received universal acclaim. Earlier this year the Sheffield Crucible Theatre production was warmly received. To enthusiasts of musical theatre, Assassins shows the new directions that musicals are taking: intelligent, thoughtful, tuneful and exciting shows that consider today's events as proper material for the stage. The story is told in a series of ballads which hark back to a theatrical tradition from John Gay's The Beggar's Opera of 1728 and Brecht's twentieth century version The Threepenny Opera. Sondheim's score ranges from country and mountain music to the patriotic marches of John Philip Sousa. In a scene at a shooting gallery you will be asked, "You wanna shoot a president?" It is perhaps a sign of the times (and the qualities of presidents) that in today's world, there might be more than a few takers.
Another Sondheim show, Sunday In The Park With George, has just transferred, after several months at the Menier Chocolate Factory, to Wyndham's Theatre. If Sondheim is to your taste you might like to sample another, completely different piece of Sondheim's theatre after you have tried our Assassins.
BILL BRAY
Director Julia Kemp writes:
I was delighted and pleasantly surprised when the GWT put their faith, and their money, behind this production of Assassins. Delighted because you are being offered the opportunity to enjoy this unique and ingenious musical. Surprised because this show does not tick any of the standard amateur drama boxes. It is a tribute to the GWT that once again, possible commercial concerns have been outweighed by artistic integrity. Firstly, Assassins is highly technical, and therefore expensive. Secondly, there's the assassination or attempted assassination of US presidents; hardly obvious subject matter for a musical.
Therein lies the genius of Stephen Sondheim, and his collaborator John Weidman, in constructing an imaginative and intelligent piece of theatre which explores this most public of crimes. Yet Assassins is by no means an attempt to glorify or justify assassination as a means to an end. Through a series of short scenes and marvellous songs (which echo a variety of musical styles including barbershop quartet and ragtime) we watch as assassins both dead and alive interact with each other. As they re-enact their crimes and discuss their executions, the ultimate futility, both of the act itself and the attempt to achieve lasting notoriety, becomes ever more obvious.
I am blessed once again with the services of Musical Director beyond compare, Andy Hall, and the wonderful and witty Stella Jarman as Choreographer. Against a set designed by Andy Briggs, the technical demands of the show are in the safe hands of a crack team led by professional lighting designer, Dave Elcome, and sound supremo, James McLeod. Those of you who have enjoyed musical productions at the GWT in the past will recognise the majority of my cast: Claire Kingshott, Ben Gaston, Gaynor Griffin, Philip Vander Gucht, Peter Griffin, Ross Holland, Angela Brignell, Ian Slipper, Mike Martin and Libby Dix. John Martin, Mark Slaughter, Vanessa Coatz and Ian Pring will be familiar to you, but ASSASSINS is their first musical outing at the GWT. Making their GWT debut are Paul Redfern and Jeff Hickman. I am delighted also to have the opportunity to show off two of our younger members, Luke Briggs and Sam Risby.
If you are a Sondheim disciple, nothing will keep you away. If you are a Sondheim novice, or undecided, please come and see what all the fuss is about. I can promise you a thought- provoking, clever, funny, entertaining evening.
"Intelligent and thrilling musical theatre, dazzling in it's originality" Theaterweek
"Nothing quite prepares you for the disturbing brilliance of ASSASSINS" The New York Times
"Dark, demented humour, as horrifying as it is hilarious" Associated Press
"Thirteen people have tried to kill the President of the United States. Four have succeeded. These murderers and would be murderers are generally dismissed as maniacs and misfits who have little in common with each other, and nothing in common with the rest of us. ASSASSINS suggests otherwise. ASSASSINS suggests that while these individuals are to say the least, peculiar - taken as a group they are peculiarly American and that behind the variety of motives which they articulated for their murderous outbursts, they share a common purpose: a desperate desire to reconcile intolerable feelings of impotence with an inflamed, and malignant, sense of entitlement." John Weidman
|