Review: ASSASSINS at Dolphin

Reviewed by Sharon Fogarty

It is not often that a piece of musical theatre impacts long after the curtains close, but this is certainly the case at Dolphin Theatre's 'Assassins'. Combining dark parts of American history with musical theatre is an interesting exercise. This is not your typical musical.

The set is a throwback to the American carnival of yesteryear- featuring patriotic bunting and booths, as well as a visual line-up of the subject matter we are going to traverse- presidents who had attempted assassinations and those who were assassinated. The inclusion of a revolve ensured scenes moved swiftly and the set dressing added to the 'Americana' theme. 

At times it feels uncomfortable to listen to perspectives of history's so-called 'mad' men and women and yet we feel ourselves agreeing perhaps or at least empathising with their point of view. The show makes you laugh, shocks you and entertains you with perky songs and lines interjected throughout and plenty of emotional and sombre parts aswell. When the curtains close after the finale there is a pause and many reflective questions in the mind of audience members- is it appropriate to clap for this subject matter? Will the curtains reopen? How did it feel to have a gun pointed in your direction multiple times throughout the show? The audience is unsettled, yet appreciative. This is certainly thought-provoking.

As an ensemble, the cast are strong, commanding, and at times threatening. Sondheim's music is traditionally challenging to sing and the cast make short work of the melodies- even singing acapella at one point. They are accompanied by Music Director, Erin Fagan's orchestra who do not miss a beat in a complicated score. Rebekkah Schoonbeek-Berridge's choreography complements the stories being portrayed onstage- this is not a 'dancey' show but the opportunities for dance are incorporated naturally and executed well. It is clear that Director George Everts has shaped his cast well to deliver impacting performances. They have studied their characters in appearance, voice and stance. It can be difficult to portray a significant person in history. 

To single out any one performer would be impossible in this show as the stories interlink through history and the characters move in and out of each other's storylines- these are all talented and strong actors. Thomas Calver (John Wilkes Booth) is the embodiment of righteous indignation, Joshua Downs (Balladeer and Lee Harvey Oswald) brings a light melodious perspective to Act 1 which makes his mental downfall in Act 2 deeper, Drew Young's (John Hinckley Jr) creepy monotone added to his lovesick stalker persona, Oliver Johnston (Samuel Byck) was amusing, commanding and terrifying all within 30 seconds, Jocelyn Scott (Lynette "Squeaky" Fromme) was consistently lovesick in voice and physical delivery of the character. Her duet with Young was my musical highlight of the show. The small ensemble provided support for the lead cast. Amelia Claridge in particular, had moments where her acting and singing were showcased and they stood out- the woman behind me exclaiming "wow, she is so natural. That was great". And it was.