Come Here and Kill a President!
REVIEW: ASSASSINS
By Ryan M. Luévano
The Pico Playhouse gives refuge to John Weidman and Steven Sondheim’s Assassins, a musical about nine real-life people who both attempted and succeeded in killing U.S. Presidents. This production’s high-level dramatic, aesthetic and performance elements break down the walls of the 99-seat theatre and bring us a production that’s larger than life. From the opening number, “Everybody’s Got the Right” uttering Sondheim’s shocking lyric “Come here and kill a President,” audiences are cajoled into the world of the unsatisfied, disenfranchised and empty Americans turned assassins that spend the show in pursuit of their own happiness.
Jeff Alan-Lee. Photo Credit: Will Adashek.
The direction and concept by director Dan Fishbach and the set design by Alex Kolmanovsky are the two initial standout aspects of this production. Dan Fishbach’s use of minimalist theatre aesthetics serve both the space and the production. This, in combination with Kolmanovsky’s simple set – placing two faux brick walls on either side of the stage at angels opening towards the audience with vintage metal cage lights hanging overhead – creates a believable and immersive atmosphere for actor and audience. As you sit in the dark watching the lives of these killers as they plan and pull the trigger you can’t help but feel like you are more than just a bystander.
Claire Adams. Photo Credit: Will Adashek.
Whether the musical is written this way, or that it is something native to this production, there is no leading role, no character that stands out among the rest—everyone knows their place and fades in and out as necessary for the drama, a well-balanced cast. Furthermore, for a musical there is not even a singer or song that raises an ear of distinction among the rest. This is of course an observation, not a criticism. As a matter of fact, all the musical performances of this challenging Sondheim score are executed impeccably with ardent dramatic sensibility.
The performances that stand out in this production are the dramatic moments in the script. The first is Samuel Byck’s (David Gallic) compelling scene when he sits alone recording a message to Leonard Bernstein explaining how Bernstein can save the world by writing more love songs, and further explaining how he is going to change things by crashing a 747 into the White House and killing Richard Nixon. Gallic’s performance here and throughout is raw and compelling. He makes the effort to search deep within his character and himself bringing forth Buck’s perspective that the audience cannot help but empathize with, if even for a moment.
Travis Rhett Wilson, left, Adam Leon Howard. Photo Credit: Will Adashek.
Another powerful scene is John Wikes Booth’s (Travis Rhett Wilson) methodical attempt to convince Lee Harvey Oswald to not become his own victim and to assassinate John F. Kennedy. In the delivery of his speech to Oswald, Wilson makes an argument so convincing that he beguiles the entire audience into wanting to take aim and shoot Kennedy themselves. This of course is only a prelude to the final coup de grâce where the entire group of assassins regroup once more proudly restating their motto, “Everybody’s got the right to be happy,” and convincing the non-assassins to take arms, and take aim at the audience, closing the show.
WHAT ABOUT THE MUSIC DIRECTOR?
Music director Anthony Lucca modestly and aptly leads and performs the show at the keyboard all from behind a faux brick wall with the other four band members. His musical direction of the cast in this production is superb; with such a complex Sondheim score, the cast musically performs it with ease and in a consistent fashion.
Sean Benedict, center, and the assassins. Photo Credit: Will Adashek.
This L.A. revival of Assassins certainly hits the mark; it is through and through a performance that reveals the evils of desperation born in the pursuit of the American dream. This show runs at the Pico Playhouse until September 27th. Click here for tickets and information.
