Reviewed by Kate O'Sullivan
Stephen Sondheim’s Assassins is an audacious and darkly satirical exploration of America’s most infamous presidential assassins, and this production delivers a gripping, unsettling, and often exhilarating theatrical experience. Underpinned by strong performances and a superb score, the show manages to highlight both the absurdity and horror of these historical figures' actions.
The Proprietor (played by Peter 'Pear' Carr) sets the tone from the opening number, Everybody’s Got the Right, enticing a collection of would-be assassins to take up arms and “solve” their problems through violence. The intensity that follows is largely driven by the powerful performance of Mark Thompson as John Wilkes Booth. Vocally, Thompson delivers with strength and clarity, adding to his commanding stage presence. the original American assassin. Commanding the stage with unwavering commitment and passion, Thompson ensures Booth's misguided zeal feels both theatrical and chillingly real.
In stark contrast, Rp van der Westhuizen’s portrayal of Charles Guiteau adds an eerie blend of vanity and delusion. From peddling his book to demanding an ambassadorship, Guiteau’s exaggerated confidence turns to sheer terror in The Ballad of Guiteau, a showstopping number that crescendos into true horror. Van der Westhuizen’s transformation from charmer to a man facing his own mortality is electrifying. His vocal performance is equally strong, effectively capturing the shift in Guiteau’s emotions. and undoubtedly his best performance to date.
Ethan Battle brings sincerity and emotional depth to Leon Czolgosz, whose journey is punctuated by key moments—his interactions with anarchist Emma Goldman (played with strength by Erin Craddock), his reflective solo in The Gun Song, and, of course, his fateful assassination of President McKinley. Some blocking choices placed him far across the stage, occasionally resulting in lighting challenges, but his presence remained compelling throughout.
Paul Treasure shines as Samuel Byck. Treasure’s vocal delivery adds to the power of his monologues, enhancing their impact. clad in a grimy Santa suit that perfectly reflects his character’s unraveling mind. His two monologues—delivered as cassette recordings to Leonard Bernstein and Richard Nixon—are masterclasses in character work, shifting seamlessly from casual to venomous as he rages against the world, all while nonchalantly snacking. His performance is exhilarating to watch.
Sonja Reynolds brings a wonderful comedic flair to Sara Jane Moore, her absentmindedness offering much-needed levity amid the darkness. Meanwhile, Madeleine Shaw’s Lynette “Squeaky” Fromme leans more into sexual energy than the eerie, cult-like obsession that might better reflect her Manson Family roots. Shaw’s vocal performance is solid, though the characterization leans more into sexuality than eerie cult-like obsession. Though interesting, her performance lacks the full creep factor one might expect.
Marshall Brown adds a stomach-churning intensity as Giuseppe Zangara, the would-be assassin of FDR, delivering his lines in well-spoken Italian. Lochlan Curtis is effectively reserved as John Hinckley, his obsession with Jodie Foster captured in the duet Unworthy of Your Love, sung alongside Shaw’s Fromme. The song, one of the closest things to a ballad in the show, highlights their eerie devotion to their respective idols.
Matthew Walford’s Balladeer provides a clean-cut, almost mocking contrast to the misfit assassins. Walford is vocally strong, but the character transition feels abrupt and could have been more seamlessly executed. His transition into the truth of his character feels abrupt, and the list of character experiences that follows doesn’t quite land convincingly.
The orchestra, under the direction of Krispin Maesalu, delivers Sondheim’s rich and varied score with skill. However, the decision to have a sizable orchestra behind the cast, without a pit, creates occasional balance issues. The actors struggle at times to project over the music, and mic balance issues—crackling and distortion included—occasionally detract from Sondheim’s razor-sharp lyrics. The live brass, in particular, is overpowering at moments, making some lyrics difficult to catch.
Visually, the production excels with a striking lighting design by Alvaro, who employs bold color washes to complement the show’s shifting moods. Some moments are breathtaking, though wide blocking choices occasionally left actors in less-than-ideal lighting. Costumes successfully span the various time periods depicted, with standouts including Booth’s dashing attire and Byck’s grimy, nightmarish Santa suit. Choreographer Tatum Stafford injects more movement than one might expect from Assassins, reinforcing the show’s satirical edge.
More relevant now than perhaps even at its 1990 debut or its 2004 revival, Assassins continues to resonate with contemporary audiences, reflecting the dark undercurrents of American history and culture. This production does justice to Sondheim’s challenging work, tackling it with verve, precision, and a keen awareness of its lasting impact.
Reviewer Note: Kate has previously worked with multiple members of this cast and crew, most recently in How To Succeed In Business Without Really Trying, at Roleystone Theatre in 2024. Tickets for this review were provided by the theatre company.
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