“The mass of men lead lives of quiet desperation.” While reflecting on the commonness of man, Thoreau wrote these oft quoted words. He notes that many men slave-drive themselves and do not wish to know of their fate or future, as if they cannot control it. What choice do they have except to go along? So most people work, carry on, and sort of exist in the box or confines that is life, resign to the fact that they can change nothing. “What is called resignation is confirmed desperation.” Presumably, the mere act of choosing to abandon the invisible chains of social norms and acceptance frees a man from his quiet desperation. Perhaps he sold his possessions and moved to the woods or, maybe, he decided to shake the status quo and kill a political figure.
Red Herring Productions’ current show Sondheim’s Assassins presents versions of nine people who, for at least a brief moment, decided to reject societal standards and or make a loud point. The show weaves the stories and lives of nine individuals who elected to attempt presidential assassination. Players include John Wilkes Booth, Lee Harvey Oswald, Charles Guiteau (assassin of James Garfield, for those who do not remember), Leon Czolgosz (assassin of William McKinley), Giuseppe Zangara, Samuel Byck, Lynette Fromme, Sara Jane Moore, and John Hinckley.
The talented ensemble, including the eight other members of the cast, sing the complicated songs well. Kudos to Pam Welsh-Huggins and her fine work as musical director and band conductor. The backbone of the show, the band, features the talents of Jason Derran, Spencer Channell, Alex Jewel, Tom Regouski, Rick Soriano, and Andrew Willis. It proves nearly impossible to select a stand-out song. Kudos, as well, to the cast for that.
Overall, this production is good. Performances, music, and technical design elements all look or sound good. People will probably enjoy this production. Some people may relate to a couple moments in the show. For example, Todd Covert’s passionate performance as Sammy Byck in his final moments of driving to the airport to hijack a plane for Nixon’s assassination attempt could conjure tears. Everyone faces those feelings of injustice, isolation, fear, and despondency. This production almost brings those feelings to light.
Despite the visually and auditory fine production, this show suffers in a few spots. It is long. At two hours with no intermission, the show feels a bit forced towards the much-too-heightened ending. This actually feels like a huge problem with this show: the stakes jump extraordinarily high in a matter of seconds, but the audience does not receive the opportunity to really connect with the character and his choice in the final moments of the show. Further, we already know what will happen. It is, after all, history. This fact, coupled with the lengthy run time make this slightly frustrating.
Additionally, I may make enemies here—don’t kill me, the intentions seem a bit weak overall. Whether decided in the script or by the director, the show is laced with subtle attacks on the characters: hints of insanity, villainy, or buffoonery, as if the intention is to paint these characters as inherently different. But they are not, not really; these people are all citizens of the United States and possess dreams. By lacing them with these attacks, the show dehumanizes them and removes most of the potential for the audience to empathize with these people. Rather, this intention and the show’s comedic musical theater nature caricatures people with mental illness. Fifty years after Kennedy’s assassination and we struggle as a country to understand how a kid can walk into an elementary school and open fire. We are not learning from our mistakes; we are ignoring the problems. “The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation.” As an individual, it’s easier to resign, but as a nation, much more difficult.
I am a bit off-put by the muddled choices of this production, inherent in the script and not, but I do appreciate the content and actually recommend the show. It can give the audience something to think about, and I implore the audience to really hone in on those moments that capture attention. Take something away from this show. Maybe make a life change.
On a final note and to clarify a confusing introduction, I do not condone killing the President or, potentially more appealing, a member of Congress. Please do not take that away from Assassins.
Assassins plays through November 9 at Studio One in the Vern Riffe Center, 77 S. High Street. Thurs-Sat at 8 pm; Sun at 2 pm. $20.00 in advance or pay what you want at the door. More information can be found online at RedHerring.info.
