October 21, 2007
Assassins "Kills 'em" at the Players Club of Swarthmore
Theater: The Players Club of Swarthmore
Show Title: Assassins
Opened: October 18th, 2007
Seen: October 20th, 2007
Reviewer: Amy Lewis
Submitted: October 20th, 2007
It’s not often that one can walk out of a show and genuinely not find a single fault or flaw in it. Whether it be an actor who was not quite up to par or the way a particular scene was blocked, there is usually at least one moment where an audience member finds his or herself thinking, “It would have been better if..” If that moment exists in the Players Club of Swarthmore’s production of Stephen Sondheim's Assassins, then it went completely undetected by the audience filling the auditorium tonight. Every moment, movement, character and line is so carefully thought out, so perfectly executed, that it is difficult to decide where to begin when extolling the virtues of this wonderful staging of a difficult work.
To start, Assassins is not an easy show to pull off. Its subject matter, for instance (a group of presidential assassins – some successful, some not – discuss their crimes) is hardly light-hearted. Moreover, its composer, Stephen Sondheim, strikes fear into the hearts of musicians everywhere with his challenging arrangements and demanding vocals. Yet the Players Club of Swarthmore seems completely undaunted by these obstacles, hitting every comic mark, dramatic nuance and musical note like it was child’s play.
Joseph P. Southard’s direction is wickedly clever, never missing a single opportunity to affect his audience or throwing away a moment of theatrical magic. Every scene, every line becomes at once meaningful and important, and he manages to strike the perfect balance between generating plentiful macabre belly laughs without trivializing the dark undertones of the subject matter being explored. The audience roars consistently throughout the evening, yet within seconds is shocked into pensive silence as grisly nuances come to light. The somber sets, coupled with sometimes seemingly contradictorily whimsical props only contribute to this emotional rollercoaster all the more.
Easily the most noticeable asset of Assassins is the sheer abundance of talent on stage. It is not just a matter of there not being a "weak link" in the bunch - there is not one cast member who is shy of excellent. Mark Thompson sets the tone for the evening as the Balladeer, soaring his way through some incredibly difficult Sondheim arrangements with remarkable ease and stunning vocal agility. As his powerful voice resonates across the auditorium, it is easy to think that no one will be able to match his prowess, but as performer after performer takes to the stage, it soon becomes apparent that everyone of them is equipped to astound.
Corey Leigh as John Wilkes Booth not only boasts a rich and glorious baritone, his stage presence is stellar. He embodies Booth with frightening conviction and self-defined logic that makes the character both charismatic and terrifying. Chris McBride as John Hinckley continues the eeriness, perfectly achieving the quiet, unassuming demeanor of his assassin that, under normal circumstances could be seen as merely pathetic and sweet, but knowing what the audience does, makes him intriguingly unsettling.
Liz Seymour turns in a remarkably self-possessing performance as Lynette “Squeaky” Fromme that allows her to belie her petite frame and lovely soprano and appear as one of the most powerful characters on stage. Like the real-life Fromme, Seymour proves that dangerous things can come in deceiving packages. Her intensity is matched by David Wills’ tour-de-force turn as Samuel Byck, whose passionate rants are captivating. Always within seconds of completely losing it, it is difficult to tear oneself away from his tirades, as there seems to be equal promise of his coming back from the brink.
The biggest discovery of the night, however, is that The Players Club of Swarthmore has been housing two of the most skilled scene stealers in the tri-state area. Sean Murray and Claudia Carlsson (playing Charles Guiteau and Sara Jane Moore, respectively) have an absolute ball every minute they are on stage, and it is impossible for the audience to resist joining in their merriment as they gallivant their way through the show. Both actors manage that hardest of tricks – playing broad, over-the-top characters believably and effectively – so perfectly that it comes as a joyous surprise to find that they are also extraordinarily talented vocalists as well; Murray’s seemingly limitless tenor scales the score as though it were tailor-made for him and Carlsson’s rich, powerful soprano is an absolute pleasure to drink in.
Rounding out the principles are Paul Kerrigan, Ed Lawler, Paul Weagraff and Mary Leigh Filippone, who each deliver noteworthy, well-considered performances as Leon Czolgosz, The Proprietor, Guiseppe Zangara and Emma Goldman. The leads, coupled with a stellar ensemble who, one by one, prove themselves to be consummate performers in their solo and featured roles, are testament to the fact that the Philadelphia area’s most spectacular talent is not all in Centre City.
For what will easily be one of the most enjoyable evenings of theatre in the Delaware Valley’s 2007-2008 season, make the short trip to The Players Club of Swarthmore. The historical playhouse is easily accessible by car and public transportation and is well worth the effort. With shows running Thursdays-Sundays for another two weeks, one can start or end their weekend with a bang…or several, as it were.
The Cast of Assassins at The Players Club of Swarthmore
Photo © 2007 CharlesSeymourJr.com
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