Pacholski Directs An Actor-Centric ASSASSINS

The upcoming Presidential election has made this theatre season fodder for political plays, musicals and comedies. The latest to take advantage of this is Billy Pacholski's version of Stephen Sondheim's ASSASSINS, which recently opened at the Viaduct Theatre. Pacholski's version comes on the heels of Milwaukee Rep's stellar production by Brit director Mark Clements. The two could not be more different in style and vision and both are worthy in their own right.

Pacholski strips away much of the grandeur of his predecessors and gives an in-your-face look at psychosis of these various killers (and almost killers). This is an actor-centric production and succeeds on most every level. Since I just reviewed another production, I will leave the dramaturgical history alone here, suffice to say that as with later Sondheim works, the book by John Weidman is at times genius while at others, incoherent at best. Pacholski also uses the 2004 Broadway revival version in which the Balladeer becomes Lee Harvey Oswald, which creates an odd character arch for the actor to play, however Sam-Button Harrison succeeds where many other actors have failed. His mannerisms and method from a narrator to the assassin of Kennedy is chilling and makes the through line understandable

Assassins roams non sequentially from the murder of Lincoln to the attempted killing of Ronald Reagan. Weidman's book portrays them as a band of brothers (and sisters) who exist to rally and support each other in order to reach a level of fame they would never otherwise reach. It is also a timely piece as the speeches elicited by the characters reflect those in the current tea party and occupy movements. Mr. Sondheim's score is awkward but at times very melodic, spanning many musical genres. Highlights include the haunting "Something Just Broke" and the telling "Everyone's Got The Right" which shows Sondheim as his lyrical best with his amazing use of the double an tundra.

Kevin Webb's John Wilkes Booth is a manipulator of the highest sort and his symbolic red gloves serves as a constant reminder that he was the country's original assassin. Edward Fraim hits notes of comic genius as Charles Guiteau and Libby Lane brings her gift of comedy to would be Ford killer Sarah Jane Moore.

Robert Ollis' musical direction is near perfection as usual; Chris Tuttle's vintage and couture costumes add to the realism of Pacholski's vision as does Danny Starr's choreography, which is more movement than dance. The projections by Ryan Fukuda (Video Production) and Frank Mares (Visionary/Projections Design), lit on a fragmented screen are effective, yet at times difficult to see.

Assassins is really a character study of the human ego. More then just a show about killing Presidents, the musical delves into why these individuals embark on the course they chose. Mr. Pacholski has given us a character rich and superbly acted production of Assassins which will surely remembered for years to come.

ASSASSINS runs through November 10, 2012 at the Viaduct Theatre, 3122 N. Western Ave., Chicago, IL, call 312-212-3470, www.assassins-Chicago.com, tickets $45, Thursdays thru Saturdays at 7:30, Sundays at 7pm, special Tuesday performance on November 6 at 7:30 pm, running time is 1 hour, 45 minutes without intermission. For more information please visit www.theatreinchicago.com

Photos by David Turner