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