Review: ASSASSINS at Carlisle Theatre Players On High

Written by John Weidman and Stephen Sondheim, Assassins was first produced at Playwrights Horizons in 1990 before finally making its way to Broadway in 2004 (it was originally scheduled to open on Broadway in 2001, but was postponed due to the events of September 11, 2001). Assassins covers complex themes ranging from broken dreams to corruption to classism with dark humor as it tells the stories of those who assassinated or attempted to assassinate various Presidents throughout US history. It approaches the overarching theme of disillusionment with the American dream in a way that may make audiences feel uncomfortable, confronting them with truths that are all too real about our country, our history, and human nature. Carlisle Theatre presents this Tony award winning show under the direction of Jeremy Tuttle and music director/conductor Lindy Mack April 17-26.

While there were a few glitches with the timing of lights on opening night, the lighting design (by Noah Johnson and Nick Alleman) was creative and eye-catching, and this reviewer has no doubt that the timing issues will be remedied for future performances. The projections (designed by Jeremy Tuttle), set (designed by Jeremy Tuttle), and props (designed by Catie MO) help to set the scene and provide some historical context. The costumes (by Elizabeth Drinks) and hair and makeup (by Chris Kapp) are brilliantly designed, highlighting not only the time in which the characters lived, but also their occupation, class, and so forth. The stage crew and stage managers deserve a round of applause for executing scene changes smoothly and efficiently so that the action of the performance was never interrupted.

The production features a full pit orchestra including Galen Work (percussion), Vicki Mack (flute/piccolo), Sara Schmehl (reeds 1), Marcella Diehl (reeds 2), Kayla Keating (reeds 3), Jackson Andino (reeds 4), Katie College (French horn), David Sgrignoli (trumpet 1), Eldon Trego (trumpet 2), Bob Warfield (trombone), Barbara Crum (keyboard 2), Shane Anthony (guitar), John Batzer (bass), Donna Stuller (reeds 2 on 4/19), Doug Riley (reeds 3 on 4/26), and Lindy Mack (music director/pit conductor/keyboard 1). These musicians made Sondheim sound easy—not a simple feat. With the pit being in front of the stage and accompanying a relatively small cast, sound balance is very important. Unfortunately, there were some issues with the sound balance on opening night, resulting in the instrumental music sometimes overpowering the singers just enough that it was difficult to make out all of the lyrics.

One of this reviewer’s favorite elements of this production is the staging. It is brilliantly blocked and choreographed, and the cast does a phenomenal job of staying in character throughout, whether they are the focus of attention or simply in the background. Charles Miller, Annie Hart, Janelle French, John Fitzgerald, Surag Gopi, Melissa Perrelli, and Jason Mathis each portray a variety of roles. Perrelli’s portrayal of Emma Goldman is delightful, filled with energy and passion. Fitzgerald’s stage presence makes him the perfect choice to perform the roles of President Ford and President Garfield. French brings lovely emotion to “Something Just Broke” as she begins and ends the song with a beautiful and haunting tone. Mathis gives a stirring performance as Lee Harvey Oslwald, a complex and conflicted character.

Larissa Curcio, Kat Moore, and Anna Palese portray Sara Jane Moore, her son Billy, and Lynette “Squeaky” Fromme, respectively. These actors give some of the funniest performances of the evening. Moore’s temper tantrum as young Billy is wonderfully over the top. Curcio’s physical comedy prowess is highlighted in her role as Sara Jane Moore. Palese’s line delivery and facial expressions as “Squeaky” Fromme are fantastic, and her vocal performance on “Unworthy of Your Love” is one of the best of the evening.

David Lang and Owen Mechling tie the show together as The Proprietors. They set the stage for much of the action throughout the performance, their energy and presence keeping the momentum of the show going. Director Jeremy Tuttle took the stage in place of Michael Griesemer on opening night as The Balladeer. His beautiful tenor voice narrated the story with agility and precision. He performed the part so incredibly well that it was hard to believe he was just filling in for another actor.

Hayden Johnson, Russ Moore, Aiden Storm, Donald Domenici, Rick Sollman, and Anthony Geraci round out the cast as John Hinckley, Samuel Byck, Giuseppe Zangara, Charles Guiteau, Leon Czolgosz, and John Wilkes Booth, respectively. Johnson’s portrayal of Hinckley is simultaneously unhinged and sweet, and his vocals are a lovely match for Palese in “Unworthy of Your Love”. Moore gives a riveting performance as Samuel Byck, performing Byck’s monologues with a fervor that is strangely relatable for anyone who has been let down by the “American dream”. Storm’s expressions, movements, and voice illustrate Zangara’s physical and emotional pain, which escalate into desperation, making his character believable and sympathetic. Domenici is electric in his role as Guiteau. He plays the role of this ambitious man with an over-the-top gregariousness that draws the audience in. His performance of “The Ballad of Guiteau” shows off his gorgeous vocals. Sollman’s portrayal of Czolgosz is heart wrenching and utterly endearing. His mannerisms are wonderfully crafted to express his character’s emotions. Geraci is smooth, suave, persuasive, and earnest as John Wilkes Booth.

The acting in this production is phenomenal, giving the audience the unsettling experience of relating to these characters as they plot and execute their assassination attempts. Assassins is a musical that will speak to many today as we ponder the state of democracy and the ideals of America. Audiences can catch Assassins at Carlisle Theatre through April 26th. For more information on this and upcoming events, visit https://carlisletheatre.org/players-on-high/

Note: due to depictions of violence, suicidal ideation, and adult language, this show may not be suitable for all audiences.

Photo credit: Cody Myers