THE HOLLYWOOD REPORTER, MONDAY. JANUARY 28, 1991 49 Theater review Sondheim's '' Through Feb. 16 ASSASSINS by ROBERT OSBORNE Director Jerry Zaks Music-lyrics NEW YORK — Stephen Sond- Book John Weidman heim's latest musical, "Assassins," is a Set design Loren Sherman raging disappointment. Offbeat, it is. Costume design William Ivey Long Lighting Controversial, it is. Daring, it is. Good, Paul Gallo Musical director Paul Gemignani it isn't. Irresponsible, it may be. Choreography D. J. Giagni There's every possibility this Cast: Victor Garber, Patrick Cassidy, Terrence Mann, Jonathan Hadary, Greg Germano, Eddie Sondheimer will be snuffed out Korbich, Lee Wiling'. . Debra Monk, quickly, despite the fact there's not a Jam Alexander. Joy Franz, Lyn Greene, John Jelli- seat to be had during its limited son, Marco Olson, William Parry, Michael Shul- man tryout run at this 139-seat off- Broadway house. Except for diehard of the song that opens and closes the Sondheim fans who'll want a gander show, "Everybody's Got the Right at anything done by the composer- (to a Dream)." lyricist, there's little here that will While a troubador-narrator (ex- satisfy or attract most theatergoers. cellently done by Patrick Cassidy) The show is a 90-minute musical counters with the suggestion "Guns kalediscope focusing on nine notori- don't right the wrongs, and soon the ous figues of history who either country's back where it belongs," killed, or attempted to kill, U.S. more emphasis is given to the theory presidents from Lincoln to Reagan. "All you have to do is squeeze your Presented in the often jaunty, ir- little finger and you can change the reverent style of a satirical revue, `Assassins' world." "Assassins" bounces back and forth continued from page 49 Non-commercial material has, of - from blithe-but-cynical moods to a Sondheim's music or lyrics, at least course, always appealed to Sond- black, deadly serious nature; it also on the first hearing. That question- heim, as witness his "Sweeney mixes characters from different able opening-closing song is the most Todd" (about a gruesome barber eras. John Wilkes Booth, the man infectuous of the group but the rest whose victims ended up cooked into who assassinated President Lincoln of the score seems mediocre, at best. pies). But "Assassins" goes too far in 1865, shows up in the Dallas Book The book by Weidman also de- over the edge for its own good; it Depository to encourage Lee Harvey serves its share of pans, although preaches but doesn't advance any Oswald to pull the trigger on Presi- "Assassins" is clearly acknowledged new or interesting arguments, only dent Kennedy in 1963. "Squeaky" as Sondheim's baby. There may be confusing and infiamatory ones. Fromme, who attempted to shoot some subtle anti-assassination decla- The show, in its present form, is President Ford in 1975, sings a duet rations in his script but, if there are, not without its assets. The cast is with John Hinckley, the man who they're too well hidden for most au- superb, down to the last player, and for the love of Jodie Foster tried to diences to discover. each member makes the most of the murder President Reagan in 1981. provocative material. Victor Garber If the play means what it seems to Mixed in with all this, and espe- be saying — "Do it for fame," "Fol- is a particular standout as Booth, cially alarming, is the overriding low your dream," "If you keep your cutting a dashing figure as the 19th message that comes through in century actor, passionate to the end goal in sight, right or wrong, then Sondheim's lyrics and John Weid- you'll have an effect on the world" about his politicial convictions. man's book: Assassins may be mis- — then it may be even more irre- But the assets do not include guided souls but, hey, as in the words sponsible than it seems at first sight. — continued on page 51