Review: ASSASSINS at Revolution Stage Company

Let’s talk about community theatre. Boy, does it have a reputation. Revolution Stage Company’s production of Stephen Sondheim’s “ASSASSINS” was nothing short of a Revolution.

I’ll explain. Imagine a space where people who make up a selection of the community come together—various ages, races, and genders, to share their talents, passions, and purpose for a larger selection of the community, via this somewhat lesser known Sondheim musical as the vehicle.

It all leads to this proof that history (A.) Can’t help but repeat itself and (B.) Is innately compelling. This show feels somehow “ahead of its time” and “right on time” as a great, timeless musical should. Ergo, as a choice to support a greater community through providing space, opportunity, and a message, it is fantastic. What is the message? You’ll have to come and decide that for yourself…

Imagine the energy my husband and I felt (If there ever was a musical to bring your husband to, he will like this one!!) when we walked in the door at 7:50pm to see a completely full house on Saturday’s opening night! It felt like we were going to be a part of something magical and live, where anything can happen, and only those of us who made the choice to be here will experience it. Ahh, friends, the theatre is alive!

This production features a strong and joyful cast. A truly “ensemble show” and everybody shined!

I personally enjoyed the lovely subtlety of Imani De Leon as the Balladeer, who operates as something of a narrator, and in so doing keeps herself somewhat “removed” from the action of the stage. This makes for a very intriguing character, indeed. I have come to describe Sondheim’s great characters as “slow burning” if you will. They do not demand that you love them simply because they are on stage. Rather, they allow you to fall in favor with them as they expose their soul to you though song.

We truly enjoyed the theatricality of Anthony Nannini’s John Wilkes Booth, the warmth from Michael Hamlin’s Samuel Byck (aka Santa), Abby Kapadia’s very good Emma Goldman, and Nicole Kennedy’ funny, funny “Squeaky Fromme” who reminded me very much of “Millie” from TV's "Freaks and Geeks", and I mean that in the best possible way.

I really enjoyed Marcello Tulipano’s complex character, Giuseppe Zangara, who gave a performance that was truly something to see live. There was an inquisitive delight in LT Cousineau’s Proprietor. Heather Joy surprised us with her lesser known character, Sarah Jane Moore, and C. James Slaybaugh came in with a Lee Harvey Oswald in the second act who had such power of that stage. The ensemble also featured the talents of Donald Kelley, Charles Guiteau, Alfredo Bazua, and April Tran, all whom were excellent.

I have to also mention Rebecca McWilliams’ costumes, as Imani De Leon’s Balladeer costume was what, for most women I think we can agree—and probably plenty of men—the perfect costume. Imani wore a beautifully textured long line brown leather corset and fun frilly skirt with a print and pickups to give her some playfulness. This juxtaposed the authority that the corset delivered. She was topped with perhaps the most charming hair and expression I’ve ever seen under a Pilgrim hat with SteamPunk goggles perched atop. Stunning!