Stephen Sondheim and John Weidman’s Assassins is one of those rare musicals that manages to be unsettling, darkly funny, and unexpectedly moving all at once. It’s a show that refuses to play by the usual rules, and that’s exactly what makes it so electrifying.
It’s not every composer and writer team, that would look at the topic of Presidential assassins and say, “That sounds like a good idea for a musical!” But fortunately, they did. Assassins turns that idea into a sharp, provocative exploration of the American dream and the people who feel shut out of it. The show’s boldness becomes its greatest strength, and the result is a musical that lingers in the mind long after the final curtain call.
The score is a masterclass in versatility. Each assassin’s story is paired with music that reflects the era and style of their time, yet everything feels cohesive and contemporary. As usual, Sondheim’s lyrics are razor sharp, biting, witty, and honest to the character singing. It’s a score that is extremely listenable and contains one of his most beautiful love ballads, even if it is sung by Squeaky Fromme (Nicole Kennedy) and John Hinkley (Alfredo Bazua).
One of the show’s most impressive feats is how it humanizes characters who could easily have become villainous caricatures. It never excuses their actions, but it does allow us to see the isolation, desperation, and skewed logic that drove them to commit such heinous acts. With each assassin receiving at least one defining scene, every performer gets a moment to shine while the production still maintains a strong sense of ensemble.
And, under Gary Powers’ tight, spot-on direction, shine this cast does. Everyone is up to the tough vocal task of doing a Sondheim musical. As the Balladeer, who musically introduces several of the characters to the audience, Imani De Leon, in a role usually played by a man, has a beautiful voice and was totally up to the job. Anthony Nannini, as the original OG of assassins, John Wlkes Booth, had a commanding presence. His era appropriate good looks and strong singing made him a natural as the unofficial leader of this ragtag group. Equally strong was Fuz Edwards as Charles Guiteau, a dashing but delusional schizophrenic on his way to the gallows. Much of the comedy goes to Heather Joy as Sarah Jane Moore who wanted to shoot Gerald Ford but, in her words, “couldn’t hit President Taft if he were sitting in her lap!” She has great comic timing while staying totally in character throughout the musical.
Assassins isn’t a typical musical. It doesn’t have a plot per se, but every scene is thematically linked as we take roughly a hundred- and fifty-year tour through the darker corners of American political history.
If you enjoy theatre that pushes boundaries, blends satire with sincerity, and showcases Sondheim’s genius at full force, Assassins is a must-see.
The Revolution Stage Company’s production of Assassins runs through January 31, 2026. For tickets or further information visit their website at www.revolutionstagecompany.com.