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Posts Tagged ‘Catherine Tate’

This was always the most audacious of musicals. A show about nine men and women who tried to assasinate eight US presidents, four successfully, five not. Now it gets an audacious production by Jamie Lloyd at the Menier Chocolate Factory and it feels like it’s just been written. A lot of madness has passed under the bridge since the UK premier 22 years ago and it resonates much more today.

The show can sometimes feel more like a song cycle, with each assassin stepping forward to do a turn, but here it feels more like a show. The Proprieter, in gothic clown make-up referencing the American flag, presides over his fairground come shooting range, handing out guns and standing in for presidents. The thoroughly wholesome Balladeer, as American as apple pie, narrates through his song. Here he seems like a 60’s folkie, somewhat appropriate given the closing scene. Assassins tell their stories and commit their crimes whilst we struggle to comprehend their motivation, and this is where Jamie Lloyd’s production stands out, in the psychological depth that emerges. It’s a fascinating piece which subverts the musical form to great effect, not least in the final chorus of Everybody’s Got the Right.

You enter the theatre through the mouth of a clown into what seems to be a disused gothic fairground, with a dodgem and bits of rides, in a traverse setting (design by Lloyd’s regular collaborator, Soutra Gilmour). The success (or otherwise) of each assassination is cleverly marked. It’s louder, brasher and more in-yer-face than any other production I’ve seen. It’s not entirly comfortable and not at all safe, as I think it should be. It can jar with lovers of tradition in musicals. It seems as radical today as it did in 1992.

Jamie Parker, hot on the heels of his Sky Masterson in Guys & Dolls at Chichester, is outstanding as the Balladeer (and his other role!), as is Simon Lipkin (one of the best things about the ill-fated I Can’t Sing) as the Proprietor; they anchor the piece whilst the stories of the assassins unfold and interweave. Andy Nyman is terrific as a manic, unhinged Guiteau, who kills James Garfield because he won’t make him Ambassador to France. Aaron Tveit is a fine John Wilks Booth, assassin of Lincoln and father of them all, with great presence and in fine voice. I worried about the casting of Catherine Tate, but she suited the character of dotty Sarah Jane Moore. Stewart Clarke as Zangara and David Roberts as Czolgosz also impress, with excellent characterisations.

This has been a good year on the fringe and off-West End for Sondheim lovers – brilliant Sweeneys in Twickenham and Tooting, Pacific Overtures at the Union, Into the Woods in Walthamstow, the compilation shows Putting it Together & Marry Me a Little at St. James Theatre and now this to end the year – an Assassins for our times, a fresh look at an underated show.

 

 

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