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Regional Reviews: St. Louis Assassins Also see Richard's review of Off the Map
Yes, she is exceptional as Lynette "Squeaky" Fromme, one of the would-be assassins of President Ford. And, yes, she gets way more laughs out of the role, as a slavish devotee of Charles Manson, than you might ever think possible. But director Suki Peters has also opened a door to just about every other performer on stage to let fly with breathtaking abandon. The results are spectacular, although your head may feel like it's exploding every five minutes or so. Stephen Sondheim wrote this extremely bizarre—but undeniably compelling—musical, with a libretto by John Weidman. It premiered Off Broadway in 1990, and won five Tonys in revival in 2004. But of course you're a normal, decent, red-blooded American, so why on Earth would you ever go see a musical—a musical—that swallows us up in the madness to be found in the lineage of presidential gunmen from John Wilkes Booth to John Hinkley, Jr.? It's just so magnificently twisted and grand and funny and spellbinding, that's why. Mike Amoroso is exceedingly charming as John Wilkes Booth and, along with Jon Hey as the proprietor of this carnival of regicide, and Charlie Barron as the narrator (or "Balladeer"), the steady work of presidential assassination becomes inevitable, occasionally hilarious, and ultimately horrific and compelling. I have to mention Patrick Kelly next, he's just so proud and delightful as Charles Guiteau, the man who shot President Garfield: A smaller-than-usual fellow with taller-than-usual grandeur, he somehow becomes the most exciting of the bunch. Mr. Kelly's excitement and determination build up to a wonderful solo dance in the spotlight, which (at least momentarily) makes every other piece of musical theater seem pale and dull by comparison. Of course, he carries with him the earth-shaking power of a gun, and his own blinkered ambition, too. But Mr. Guiteau and Mr. Booth, and all the like-minded individuals in this alternate history, share a kind of defeated self-righteousness that has grabbed them by the scruff of the neck, and shoved them out in front of great men with a gun in their hands. Imagine how many more potential assassins there could be out there nowadays, in an age of depleted economy and one-sided journalists, intent on provoking even more self-righteous fools, just to keep their audience tuned in. In that sense, Assassins may be the most important play you'll see for the next five or ten years (or however long this mad stage of history persists). It's just a remarkable production, thanks to the fearsome level of commitment on stage. Nick Kelly is spellbinding is Leon Czolgosz, an embittered bottle factory worker who takes a shot at William McKinley. And Nancy Nigh is splendid as worker rights gadfly Emma Goldman, providing a template for Czolgosz' militant action. Jessica Townes is delightful as a jittery Sara Jane Moore, spending a long lunch in the park with Ms. Theby Quinn. They shoot the breeze, delightfully, until President Ford (the charming Will Bonfiglio) happens to stumble in. Comedy, with bullets, ensues. If you've forgotten about Sam Byck, well, I can't blame you, though his plan to crash a 747 into the Nixon White House should be memorable enough. Patrick Blindauer (in a bedraggled Santa suit) captures something darkly ridiculous and wild about Byck, in a couple of funny, jagged scenes. Mitch Eagles gains bizarre momentum as Giuseppe Zangara (he allegedly shot at FDR, but fatally wounded Chicago Mayor Anton Cermak instead); and Nate Cummings is a window into a deeply troubled universe as John Hinkley, Jr. (even though Ms. Theby Quinn gets a laugh at his expense later, in one of many imaginary meetings between all these strange gunmen). The most hair-raising moment comes near the end, after John Wilkes Booth has spent the better part of five minutes trying to persuade a young ex-Marine to reach for immortality, in spite of a life of wretched failure. The two men talk privately in a Dallas schoolbook depository. And as Charlie Barron is visibly swept up in great events (as Lee Harvey Oswald), a famous old 16mm film flickers hazily overhead, to our undying regret. It's appalling, and utterly magnificent, all at the same time. I don't know where you'll come down on all of this, but it is undeniably a great production of a devastating and rarely seen work. Excellent musicianship, and an extremely competent chorus and crew, put a nice big ribbon on the package. Through October 5, 2014, at the Ivory Theatre, east of I-55, and about a mile south of the Loughborough exit, at 7620 Michigan Ave., in a former church building. For more information visit www.11theater.com. Cast (in alphabetical order) Crew
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