Some sympathy for the devils in StageWorks Toronto’s Assassins

Assassins colourized alley“Attention must be paid!” This line from The Death of a Salesman is used as a major talking point by John Wilkes Booth in Assassins. Not able to achieve recognition by regular means, there are some people who will go to extreme measures to be noticed, undertaking the death of another.

StageWorks Toronto’s production of Assassins – music and lyrics by Stephen Sondheim, book by John Weidman, and directed by Lorraine Kimsa and Michael Yaneff, with music direction by Tom Kerr – takes us through a history of nine American assassins, from the 1860s to the 1970s.

Starting at a carnival in limbo, the Proprietor introduces eight of the assassins, arming each with a period appropriate handgun. Spinning the Wheel of Presidents, the Proprietor starts it all off with Booth in 1865 – the father of American presidential assassinations. Our trip through history is not a chronological one, and each outcome is interwoven with various scenes of Lynette “Squeaky” Fromme and Sara Jane Moore on their comic, bumbling road to their target Gerald Ford. And throughout, the Balladeer adds musical moral commentary on the situation at hand.

It’s not all dark comedy fun and games, though – the final assassination presented – the most affecting historically and personally for America – is nurtured to its horrible fruition by Booth and the others as they coax Lee Harvey Oswald to pull the trigger on John F. Kennedy from that Dallas Book Depository window.

Overall, an excellent cast, serving up some strong vocals – with some stand-outs. Luke Witt is very effective as the devilishly seductive Proprietor, while Hugh Ritchie is beautifully bright and soothing as the Balladeer – the devil and the angel on opposite shoulders of the collective assassins’ consciousness. Rich Burdett is remarkable as Booth, combining a striking, commanding presence and powerful vocals – and his scene with Oswald (played with great passion and inner conflict by Nicholas Arnold) is particularly chilling. Will van der Zyl delivers a hilarious and poignant performance as the crazy Santa Samuel Byck, in his tape recorded letters to Leonard Bernstein and Richard Nixon, outlining his plan to fly a 747 at Nixon in 1974. Laurie Hurst is lovably kooky as Moore and Christie Stewart is adorably deluded as Fromme – and Stewart does a lovely duet, “Unworthy of Your Love,” with Mike Buchanan (nice work as the sensitive, but extremely troubled John Hinckley Jr.), a love song to their celebrity obsessions Charles Manson and Jodi Foster.

Collectively, the Ensemble (Anthony Botelho, Stephen Flett, Lauren Lazar, Suzanne Miller and Peter Nielson) give a lovely, moving performance of “Something Just Broke,” presenting first-hand citizen accounts of where they were when they heard about their president’s death, led by especially strong vocals by Lazar. And the assassins do a great job with “Another National Anthem” and the finale “Everybody’s Got the Right” – hymns of the disenfranchised and marginalized, left behind economically and in some cases dealing with mental health issues. Eerie in light of ongoing current events in the U.S., where everybody’s got the right to own a gun, but not everyone has access to mental health care or equal opportunity – and the deadly, tragic combination these can make.

With shouts to set designer Michelle Tracey, and lighting designers Karen Brown and Paul Harris, for the aesthetically pleasing, very effective multi-level creepy carnival in limbo, with great use of back-screen projection for the footage of the Kennedys making their way from the airport and through Dallas to that shot that was heard around the world. And the use of balloons on set to create the gunshot sounds was both clever and spooky.

Everyone needs to be loved and everyone needs to matter. But not everyone goes about it by deciding to kill the President of the United States. And rightly so. For a couple of hours, we hear their stories, their reasons – and perhaps we can offer up some sympathy. But in light of a deadly, final outcome, we can only feel so sorry for these poor devils.

StageWorks Toronto’s production of Assassins is a rousing, darkly entertaining and moving piece of musical cautionary storytelling. Attention must be paid.

Assassins continues its run at the George Ignatieff Theatre until July 27.

A moving, infuriating inspiration – StageWorks Toronto’s Parade

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Scott Labonte (as Leo Frank) and Lauren Lazar (as Lucille Frank). Photo by Nicholas Jones.

I saw Parade for the very first time when I went to see StageWorks Toronto’s production last night at the George Ignatieff Theatre.

With music and lyrics by Jason Robert Brown, and book by Alfred Uhry, StageWorks’ production of Parade was directed/choreographed by Lorraine Green-Kimsa, assisted by Michael Yaneff, with music direction by Tom Kerr. Based on a true story of prejudice and gross miscarriage of justice, Parade is a moving, heartbreaking, infuriating inspiration of a musical.

The large energetic cast includes stand-out performances by the two leads: company co-founder Lauren Lazar (Lucille Frank, co-producer) and Scott Labonte (Leo Frank), both doing a lovely job with both the musical demands of their roles, as well as their characters’ arcs. Their relationship distant and strained, Leo is a stiff, frustrated but decent man, while Lucille is prim and loyal – and both face a test of loyalty and strength, both personal and marital, throughout the course of Leo’s trial and incarceration, culminating in the beautiful duet “All The Wasted Time.”

Twaine Ward (Newt Lee & Jim Conley) does a stellar turn, especially as the charming and resourceful Conley, showing great acting and singing chops on “That’s What He Said,” “ A Rumblin’ and a Rollin’” and “Blues: Feel the Rain Fall,” the latter including some great choreography for the chain gang scene. Luke Witt has great range as young Frankie Epps, going from cheeky flirt in “The Picture Show” to devastated, vengeful friend in “There is a Fountain/It Don’t Make Sense.” Stephen Flett does a great job with Governor Jack Slaton, a good ‘ole boy who finds himself rethinking the questionable methods he’s been employing to keep things neat and tidy politically. A nice pairing with Kelly Lovatt-Hawkins as his wife Sally, a balancing influence and an equal in their marriage – and a great fun, charming song and dance number in “Pretty Music.” The villains in this story are played with relish and realism – Will van der Zyl’s Hugh Dorsey, the politically ambitious snake of a D.A., and Michael Yaneff as Watson (also co-founder/co-producer), the dangerous, right-wing Christian bible thumper. All of the characters exude their own kind of virtue and all are flawed.

Parade is certainly a strong socio-political commentary of the time, place, people and justice system – but what makes it so compelling is that it’s a very human story. A husband and wife discover the true love and strength of their marriage, and a governor does the right thing despite the likely peril of his political career.

“Parade” is a reference to the annual April 26 Confederate Memorial Day parade – it is also about the parade of humanity. The show opens and closes with “The Old Red Hills of Home” – first sung by a young soldier going off to fight in the Civil War, then at the end led by Frankie Epps, who is going off to fight in WWI. Not much changes in the 50-odd years in between – and one only has to read the newspaper to see that there is work yet to be done on the justice system in the south.

Parade runs at the George Ignatieff Theatre until August 18. Here’s one of the preview vids for the production – the finale of the rousing and somewhat disturbing, given the play’s journey, “Old Red Hills of Home.” You can see all the Parade preview vids on the StageWorks Toronto’s website: