Assassins (2004 Broadway Revival Cast)
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Music Reviews of Assassins (2004 Broadway Revival Cast)
Music Review: Stephen Sondheim's "Assassins" finally make it to Broadway
Rating: 5 Stars
I picked up the original cast album of "Assassins" simply because it was a work by Stephen Sondheim. The next thing I knew I had a student doing the final scene between John Wilkes Booth and Lee Harvey Oswald as a dramatic interpretation at high school speech contests and our speech team was attending productions of "Assassins" in the Twin Cities and Eau Claire, Wisconsin. So when the 2004 Broadway revival cast won several Tony Awards it was nice to see that this strange little example of American musical theater was finally receiving its due on the Great White Way.
The setting is a carnival shooting gallery where the assassins who tried, successfully or not, to claim the lives of American Presidents from Abraham Lincoln to Ronald Reagan come together. Each in turn gets to tell their story on their own terms, usually through one of Sondheim's brilliant songs that allow each assassin their own voice. Who else but Sondheim, aided and abetted in this instance John Weidman, would have John Hinckley (Alexander Gemignani) and Lynette "Squeaky" Fromme (Mary Catherine Garrison) singing a sweet duet entitled "Unworthy of Your Love" as they bemoan their unworthiness to be loved by Jodie Foster and Charles Manson respectively. The simple melody stands in stark contrast to our knowledge of what these two people went out and did in the name of love.
Part of what makes "Assassins" unsettling is that it really does give each character their own say, from the vitriolic attack upon the memory of Abraham Lincoln by John Wilkes Booth (Michael Cerveris) in "The Ballad of Booth" and the bitter fury of Giuseppe Zangara (Jeffrey Kuhn) in "How I Saved Roosevelt" to the religious fervor of Charles Guiteau (Denis O'Hare) in "The Ballad of Guiteau" and the cold outrage of Leon Czolgosz (James Barbour) in "The Ballad of Czolgosz." Then there is the off the wall insanity of Samuel Byck (Mario Cantone), who has a rant ("Have It Your Way") instead of a song, followed closely by Sarah Jane Moore (Becky Ann Baker).
Helping the assassins to tell their story are the Proprieter (Marc Kudlisch) and the Balladeer (Neil Patrick Harris), although the later doubles as Lee Harvey Oswald at the end. Of course, the idea of television's Dogie Howser as JFK's assassin is a nice little angle for marketing the show. Other historical figures from David Herold and Emma Goldman to Presidents Garfield and Ford pop up at times, played by the Ensemble, as we look at the reasons given by the men and women that made political assassination a peculiar American blood sport. There are few musicals as provocative as this one. You feel like there should be discussion topics that come with the libretto.
True, it is a bit strange to hear these songs sung by a new cast and in often different ways, but having been exposed to a pair of radically different stagings of "Assassins" I am certainly open to the variations. The booklet that comes with the CD has John Weidman's recollections from June of 2004 on the strange twists of fate by which a show that never made it to Broadway ended up with a Tony Award for Best Musical Revival (although the album title simply notes this is "The Broadway Cast Recording") and short biographies of the nine assassins, along with the tradition synopsis and song lyrics.
Of course you should have both CDs because the original has the entire "November 22, 1963" scene when Booth (played by Victor Garber) and the other assassins show up at the Texas Book Depository to persuade Lee Harvey Oswald to join their ranks. However this new recording has "Something Just Broke," the new song that comes between the Kennedy assassination ("Take a look, Lee") and the finale with the reprise "Everybody's Got the Right." The song is sung by ordinary folks, touching on how people remember where they are and what they were doing when they hear the President has been shot, and serves as a serious counterpart to the Ensemble's other big number, "How I Saved Roosevelt." There is a bit more of the dialogue on this CD, including most of Byck's rant.
Music Review: Uninspired
Rating: 2 Stars
I can muster only two stars for this revival of "Assassins" and I think I'm being a bit generous, considering that I cannot listen to more than one song at any given time and I usually don't make it through to the end of one. I have listened to it once, in its entirety, and that was more than enough for me; it's since been relegated to occupying space under a pile of DVDs; out of sight, out of mind. In order to write this review, I tried listening to the whole thing again, operative word being "tried."
One thing I immediately noticed about this recording when I first bought it was that something sounded "off," only I couldn't quite figure out what. Once I tried a second listen, with headphones, I realized what it was; rather than being traditionally recorded like most CRs, in studios with proper acoustics, the actors were recorded in a soundproof booth. That may seem like a minor complaint, but it definitely has an adverse effect on the vocals and, by extension, the listening experience as a whole. Rather than re-create the atmosphere of the theatre, in which the voices and instruments seem to fill the room (and provide the wonderful "ring" produced with proper acoustics), the voices here are smothered, deadened, absorbed by the soundproofing material of the studio booth. Several times, one can hear the voices striving to ring out, only to have them sucked into that merciless black hole of foam which makes everything sound unbearably leaden.
Baker gives a wholly detached performance as Moore, sounding as if she's still half asleep and couldn't be bothered to muster the necessary energy. Near the end of the opening number "Everybody's Got the Right," Cerveris and Kudisch (as the proprietor) sound so much alike, I can't tell which man is singing which line. The proprietor comes across far too smug and smarmy, rather than slick, smooth and Machiavellian (for the latter, think "Chicago"'s Billy Flynn had he failed at law) and Cerveris' accent does shift around during the course of the recording. Although O'Hare does manage to sing a dozen or so pleasant "I am going to the Lordy"s in "The Ballad of Guiteau," it's not enough to win me over. His voice isn't particularly strong and the effeminate quality in his delivery could be considered offensive by some; I merely find it irritating (I freely admit to being partial to Hadary's interpretation of Guiteau - you shall be remembered! indeed). In all the performances, notes, at times, seem flat, harmonies not as intricate, and sustained notes are few and far between. All the humor has been completely leeched from "Gun Song."
Other reviewers have mentioned the brighter or "cartoonish" quality of the music and I have to agree with them. The mood created isn't as dark as it should be and I believe Sondheim's score suffers from this particular orchestration. By lightening the tone, the subversiveness is negated and if "Assassins" is anything, it's subversive.
I am appreciative of the inclusion of the spoken parts that tie into the musical numbers, as well as the monologues of Sam Byck, but I can't warm up to, or connect, with this recording. The characterizations seem lackluster, without electricity or nuance. I was disappointed, I wanted to like it and went in with an open mind and high hopes, but, unfortunately, this revival recording is unable to match the brilliance of the original. It would seem that Garber, Hadary, Mann, Korbich et.al did leave an indelible stamp on the material.
"Assassins" is a wonderfully provocative, food-for-thought musical revue that certainly isn't for everyone but, for those who don't mind darker, more cerebral material, it's time well spent. However, if you want to experience it, I can't recommend doing so via this revival recording; go for the far superior, original, off-Broadway cast recording instead.
Music Review: One of Sondheim's finest, yet most underappreciated musicals
Rating: 5 Stars
I was captivated by the musical Assassins when my brother handed me the original Off-Broadway cast album. I listened to it on repeat for days at a time. The subject matter and music was some of the best I had ever witnessed. After hearing that a revival was in progress (exactly what this CD is,) I knew I had to go to New York and see it. I saw it exactly one week before it closed on Broadway and it has become one of my favorite musicals.
Assassins is not your normal musical. Like Sondheim's Company, It deals more with theme than story. We are told the stories of eight men and women who attempted to assassinate the President of the United States. But, Sondheim and Weidman don't merely dismiss them as insane creatures like American history books do, we are told rich stories of who they are and what they meant to the country and to life itself. Without them, our country would be much different than it would today. It also shows us how these people are no different like us. They have dreams and do what they can to achieve them, "even though at times they go to extremes." As you can see, a show that explains seriously and sometimes even promotes cruel assassins is not one most people would want to see. But as a musical lover as well as a history lover, it is something I looked into very seriously and it has changed my views of people and life itself. This music can do that for you.
If you enjoy Sondheim music, especially more contemporary ones like Company and Merrily We Roll Along, you'll love this musical. It is extremely rich in melodies and lyrics. These songs will get into your head and keep coming up throughout your day. It definitely has one of the best scores of any musical that has appeared on Broadway. If you are open to new ideas in musical theater, especially for serious subject matter, then this soudntrack is for you. If you want a musical that makes you think instead of one you can just listen to and enjoy, then this soundtrack is for you. It also contains numerous portions of Weidman's book, which is superb. Had this musical first come out in 04, it would have no doubt won a Tony. The best pieces are the monologues said by Sam Byck (played by Mario Cantone on the soundtrack). One of them is on the CD and it is just as riveting as it was in the theater. Also, a small piece of the final scene is on the CD, and it once again is exceptional.
There are many reviews arguing which soundtrack is better, this one or the original cast. They are both great, but I think this revival cast has a bit more flare and understanding in it. Victor Garber is amazing, but Michael Cervanis goes beyond all of that and is jaw-dropping (thus winning the Best Featured Actor Tony in 2004). Denis O'Hare (Charles Guiteau), Mario Cantone (San Byck), and Marc Kudisch (Proprietor), go above and beyond the actors in the original cast. There is also a new number on this CD (Something Just Broke,) which is a great addition. That coupled with numerous scenes left out of the first CD make this one the must buy. If you like this cast and want to also purchase the next one, then do that, but this is a good place to start. Do yourself a favor if you like contemporary theater and Sondheim and just purchase this CD. It will be one you pop in for years to come.
Music Review: Excellent - But Which Recording is Better?
Rating: 5 Stars
Having taught classes on the work of Steven Sondheim, I have long considered Assassins to be my favorite of his works - not his best work, but definitely my favorite. I have had a long and wonderful love affair with the Original Cast Recording of Assassins, and with Victor Garbor and Terrance Mann heading that incredible cast, I was apprehensive when I received my Broadway Cast Recording. In the final analysis, it is easy to say that they both have their strengths and weaknesses, but here they are:
1. The Orchestrations on this new Broadway Cast Recording are definitive. They are rich, full, and flesh out one of my favorite aspects of this work of Sondheims; the music that accompanies each Assassin is written in the style of their background and/or time period.
2. The Cast on this new recording is very good. Niel Patrick Harris, who I saw in Sweeney Todd, rises to new levels of excellence. His clarity of tone, diction, feeling, and comprehension make his recordings superior to those of Patrick Cassidy which I did not expect. For those in the fold, the Ballad of Czolgosz is worth the price of the CD alone.
I found that this Guiteau gives us far less vocal flourish and characterization than did the original; but strangely, this does not weaken the character.
The Fromme here is very good, and is "squeaky" only in name, unlike the original.
The only two characters here who are not either better or just as good as the originals are Booth and Moore. With Booth, I felt that he has a deep, rich, and beautiful voice, but he has decided that his acting should occasionally take place outside of the notes of the score. In The Ballad of Booth, he should have let the music be the source of the drama, not his characterization. With Moore... well, I hate to say this, but she ruins the Gun Song, which is a little out of groove to begin with.
Oh, and Zangara doesn't sell me at the end of "How I Saved Roosevelt"
3. The Songs - Yes, Unworthy of Your Love is great here, and the brass give it that extra something that it needs towards the end. Fromme goes slightly flat at one obvious point, but as a whole, a great recording (ESPECIALLY THE TAG WITH REAGAN). Everybody's Got the Right is just as haunting and beautiful as it has ever been. Another National Anthem and The Ballad of Guiteau are definitive recordings. There are also some magnificent tags and dialogue on this recording.
With the song Something Just Broke, which was added to Assassins later, I have always heard said was "out of place" in Assassins, and I now know why this criticism is common. It is not that the sentiment is out of place - the music is. This sounds just like Passion, not Assassins. (Passion was Sondheim's next show, which he was probably writing when he wrote Something Just Broke). This doesn't make it a bad song - actually, it's amazingly beautiful.
Overall, buy this one, love this one, and then buy the Original Cast Recording. (Or vice versa)
Music Review: ASSASSINS gunned down by Republicans
Rating: 5 Stars
ASSASSINS was originally supposed to transfer to Broadway after an initial try-out at Playwrights Horizons in January 1991. The poor reviews, a slumping Broadway economy and the Gulf war all conspired against the show being given a full commercial production and after 9 weeks all that remained was a cast album. A successful London staging in 1992 led to more productions in regional theatres giving more people had a chance to see this show. Still it was NOT allowed to be performed at the Kennedy Centre as part of the Sondheim Celebration in 2002. A Broadway revival was announced for the fall of 2001, but the events of 9/11 scuttled those plans. Finally the revival happened at Studio 54 in the spring of 2004. The reviews this time were all raves, and the production won the Tony Award as Best revival. Sales were excellent, though not capacity and the Roundabout announced the show would extend its run.
Except... the Republicans were holding their convention in New York City in August 2004. Their members were barred from attending any "controversial" shows (NAKED BOYS SINGING incurred the wrath of the Republicans when it appeared on a list of plays and musicals for which tickets were available.) Considerable pressure was put on the Roundabout theatre company. The Republicans simply did not want to be holding a convention in town while a show that - they felt - glorified presidential assassinations was playing in one of Broadway's prominent theatres. The Roundabout bowed to political pressure and announced the show would close in mid-July, even though it had been selling out 90% of its seats ever since it opened.
So now we have 2 CD's of ASSASSINS. Which one to get? Hard to choose. The original cast, especially Victor Garber and Patrick Cassidy are so perfect in the roles that it becomes difficult to hear other interpretations. The revival disc includes a little more of the dialogue and one of Sam Byck's powerful monologues. It does skip most of the Texas Book Depository scene, which was a dramatic high point of Victor's off-Broadway cast album. But the ace here is the first (and only) recording of the song "Something Just Broke" which was added to the show for the 1992 London production and was not heard on the original off-Broadway recording. It's a devastating number, and one that gives the finale added poignancy. The song alone might tip the balance in favour of this newer recording.
The packaging is wonderful and includes many beautiful full-color shots of the revival, as well as a detailed synopsis and all the lyrics and text of the included dialogue.
ASSASSINS is an incredibly powerful show leaving you with a lot to think about long after you have left the theatre. The final image is shocking: the assassins line up across the apron of the stage at take aim at various targets in the audience. The music ends. The lights black out. The guns go off in the darkness.