The Gun Song

Assassins

Sacrificing oneself for the greater good, fighting against political injustice, seeking a brighter world, feelings of desperation and disillusionment and simply the desire for attention are all motivations for the assassin’s bullet. Imagined by playwright John Weidman and composer & lyricist Stephen Sondheim, this edgy, controversial 1990 musical probably won’t be everyone’s cup of tea. But as one of its melodies proclaims, this is “The Gun Song,”  and indeed it is. A lovely score, a fresh look at American history plus the sheer artistry of this production are reasons enough to see Theo Ubique’s latest offering.

Opening Off-Broadway toward the end of the 20th century to mixed or negative reviews, this unusual musical lasted fewer than 80 performances. However, fourteen years later the Studio 54 Broadway production received much better reviews and went on to win five Tony Awards, including Best Revival of a Musical.

Stephen Sondheim defends his cult musical, not by apologizing for its volatile subject matter, but by claiming that there’s no longer anything that’s sacred when it comes to creating a musical. “Nowadays, virtually anything goes,” the composer told the New York Times. He cites letters of outrage written to Rodgers & Hammerstein after “South Pacific” depicted interracial marriage as part of its plot. By today’s standards such controversy sounds ridiculous, but in 1949 it appeared scandalous to many theatergoers.

Sadly, a portion of our society has sadly become insensitive to the sight of assault weapons and the news of gun violence. The frequency of mass shootings everywhere in this country raises the eyebrows and ire of many. People are sick and tired of nothing being done following the myriad of senseless murders, except  someone offering their lame thoughts and prayers to the families. Those who’ve experienced gun violence firsthand, or empathize with anyone who has a suffered loss, would definitely like to see stricter gun control legislation. 

So, are audiences able to enjoy a play where men and women take pot shots at our country’s leaders? Can an all-singing, all-dancing theatrical production, rife with rifles, stark drama and dark humor, be the entertainment of tomorrow? Maybe. Then again, Stephen Sondheim’s musicals have always tackled unusually diverse subjects. They include a deformed woman’s love for a young soldier; a revengeful barber slitting his customers’s throats while his lady friend bakes them into pies; a fictionalized biography of an Impressionist painter who claims that art isn’t easy; the opening of Western trade with Japan told from the Japanese point of view; and a musical based on the bawdy comedies of an ancient Roman playwright. You see, for this composer, truly nothing was off limits.

Set in a dreamlike version of the United States that resembles a haunted carnival or county fair, John Weidman’s script presents an abundance of new information about history’s villains, the men and women who’ve attempted and successfully assassinated a President. Each song in Sondheim’s score reflects the flavor of the era from which each real-life killer lived. The numbers aren’t as memorable or hummable as in many of Sondheim’s shows (“Send in the Clowns” or “Not While I’m Around,” for example), but the songs are melodic and filled with unexpected irony, dark humor and pathos. 

The cast is populated by a company of smiling, demented, glassy-eyed antiheroes. It’s like a ghostly trip to a Twilight Zone where assassins from both the 19th and 20th centuries dwell. Often shocking, sometimes poignant and surprisingly funny at unexpected moments, Sondheim’s musical claims that these misfits of society all share the same hopes and aspirations as their Presidential victims. Their attempt to be noticed is just a different way to achieve the American Dream. These losers, who could never succeed in the conventional manner, find violence as a quick way to earn instant fame and secure a place in history.

Multitalented Darryl D. Brooks, known for his excellent work as a playwright and director at Black Ensemble Theatre, along with being a notable guest at several other Chicago theatres, guides this production with his style and spirit. Grant Carriker assists by contributing his skill at musical staging, helping to fill the stage with choreographed movement. Musical director Heidi Joosten, who recently hit all the right notes in Kokandy’s magnificent “American Psycho,” both guides the actors in their songs, conducts the onstage band and plays the piano while accompanying the performers. 

Supporting the cast are a bevy of unsung, but equally talented theatre artists. Bek Lambrecht has created a fluid and expansive set design that serves as many purposes and locations. Lit with focus and color by Denise karczewski, the Theo stage is filled with mysterious shadows and bright areas of splendor. Matthew R. Chase has designed a palette of sound, including the authentic explosions from each of the period firearms. And Marquecia Jordan has captured each character in her specific costume and wardrobe choices.

The cast of nine assassins are individually and collectively magnificent. This also includes the five ensemble members, each of whom play many roles. Liz Bollar leads the cast as the Proprietor of the sideshow of killers. The powerful mega-talented Neala Barron, who has been enjoyed on practically every Chicago stage, is truly exceptional in her unbelievable portrayal of John Wilkes Booth. The Narrator/Balladeer, who becomes Lee Harvey Oswald in the final scene, is played by Jeff Award-winning actor/singer Patrick O’Keefe, recently seen in Kokandy’s stirring “Sweeney Todd.” Will Koski, a standout as Jack in Paramount’s “Into the Woods,” is splendid as John Hinckley, Jr. Amanda Rodriguez and Laura Sportiello are delightful and devious playing Lynette “Squeaky” Fromme and Sara Jane Moore, respectively. Nick Arceo lights up the stage as Charles Guiteau, Jon Parker Jackson is terrifying as Sam Byck, Mack Spotts leaves his mark as Leon Czalgosz and Josh Pablo Szabo is memorable as Giuseppe Zangara, an immigrant wracked with so much pain. In addition to  Liz Bollar, the gifted ensemble includes Brittney Brown, Tyler DeLoatch, Simon Keiser and Evan Morales, all playing multiple supporting roles.

This isn’t a musical that will charm every theatergoer, but it’s a beautiful production that’s well worth seeing. Despite the dark humor that abounds throughout, it can be daunting watching so many guns being waved in the air and aimed at their intended victims. Assassination, as a quick way to gain fame and go down in history, can be a hard nut to swallow. But this company of talented young actor/singers, under the direction of the incomparable Darryl D. Brooks, take a chance, pushes the envelope and delivers a Gun Song that the audience won’t soon forget.          

Highly Recommended

Reviewed by Colin Douglas

Presented October 27-December 17 by Theo Ubique Cabaret Theatre, 721 Howard Street, Evanston, IL.

Tickets are available in person at the box office, by calling 800-595-4849 or by going to www.Theo-u.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.