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Post by profquatermass on Jun 12, 2023 15:52:02 GMT
Googling and researching the individual Assassins- their back story and their motivations to what it is that they did (either successfully or not)- makes for some interesting reading. For me the two most interesting were John Hinkley who's obsession with Jodie Foster became dangerous and Lynette "Squeaky" Fromme who, if I am correct- despite his recent death- is still incarcerated and sill devout to Charles Mason. Anyone who wants to know more about the actual assassins might want to read Assassination Vacation by Sarah Vowell. www.amazon.co.uk/Assassination-Vacation-Sarah-Vowell/dp/074326004X
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Post by BurlyBeaR on Jun 12, 2023 15:55:25 GMT
Some posts have been edited. Can we steer away from discussion/speculation of a reviewers personal circumstances please. BurlyBeaR the information is out there in the public domain, he has been open in articles about his experience and even written a book about it. My intention was to offer a possible explanation for his scathing review, not to speculate, apologies. No apologies needed, and thanks for clarifying 🙂
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Post by Jay on Jun 12, 2023 16:16:38 GMT
I thought it was wonderful and the entire cast were superb. I had a lot of fun and would love to see it again if it does transfer.
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Post by solangelafitte on Jun 13, 2023 23:46:13 GMT
Saw this at the weekend. Loved it. Granted, not as much as the Menier production but they're such different approaches it's hard to compare. Friends I went with who weren't at all familiar with the show really enjoyed it too, particularly, and I quote, "the Santa guy."
Every time the balladeers were on stage I spent it wishing it was just Liam Tamne's role but that's probably my only gripe. Was very pleasantly surprised by Danny Mac. While I felt he wasn't vocally as strong as Tveit, Xavier & Pasquale (the three I've seen/heard most recently) I thought he did a really excellent job. Thought the whole cast were solid. Would love to see this one transfer. Already trying to figure out if I can make another matinee before the end of the run.
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Post by anthony40 on Jun 14, 2023 7:42:36 GMT
I am at the matinee this Saturday.
It's my first time at Chichester
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Post by theatrefan62 on Jun 14, 2023 14:22:47 GMT
Trailer released
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Post by Steve on Jun 15, 2023 17:16:34 GMT
Saw today's matinee, and really enjoyed it. The political elements of Polly Findlay's vision are terrific, but the spare staging of some of the book scenes do show up some static passages of the book. Peter Forbes, who always excels at projecting preening and/or flailing masculine narcissism, is an actor who can walk from one Sondheim to another and always fit in, and he does so majestically here. Amy Booth-Steel breathes so much (comic) life into the role of Sara Jane Moore, she almost steals the show. . . Some spoilers follow. . . I remember the first time I saw the (superior) Menier production of this, the book writer, John Weidman, was seated near me, proudly and justifiably receiving so much love from admirers approaching him that he was practically holding court. I think what Jamie Lloyd did to make his book work so consistently and so well in that production was to meld it into something bigger, never to abandon the book on stage alone: after all, all the actors were trapped as "freaks," in a carnivalesque freak show, with no escape except for the demon mouth of a gigantic freaky clown lol. Consequently, when the music went quiet, and the actors were gabbing away in character with their self-justifying drivel (if they were capable of expressing themselves profoundly, they'd hardly have turned to murder, after all), you could always see the reactions of all the other attempted murderers, nodding, relating, egging each other on, magnifying each others' grievances and narcissism: a perfect reflection of how all evil acts have to be bounced off other misguided human beings before they become possible. There was so much meaning in this interaction, so much to look at, the book was just the dumb thrumming background noise of huddled grievance, bonding and building towards evil. Here, actors left alone with the book alone on that vast stage feel abandoned to the pathetic grievances of their all too human flaws, leaving dull patches. When actors do share the stage, too often they look more like students, lounging around a capacious Oval office on a school trip, rather than deadly and banal conspirators. The actors that thrive the most are those gifted by Findlay with what amounts to fully formed variety acts to perform for the audience: Consequently, Harry Hepple's Guiteau's whole performance, book and song - dancing cheerily back and forth towards a stairway to his own gallows, surrounded by news anchors chiming in and echoing his movements as they dance around him - is immensely entertaining, a show and a spectacle that fill the space, even as Hepple fills his frame with Guiteau's ridiculous gleeful naiveté and neediness. So too do Jack Shalloo's Hinckley and Carly Mercedes Dyer's Squeaky Fromme, forming a double act, fill the space with their perverse love duet. Shalloo, one part John Denver style crooner/one part gawky high school student about to commit mass murder, is particularly compelling. One detail of the performance I loved was the red Maga-type hats on all of the orchestra, a wonderful background detail even as Peter Forbes swelled up and swaggered around in full Trumpian glad-handing glory. Another maga-style detail I enjoyed was Lizzy Connolly's pink-purple pant-suit and garish makeup, reflecting the colourful way right wing TV stations decorate their female presenters. But simply seeing Lizzy Connolly again, after a while, as one of the Balladeers was even more of a delightful surprise, as she has long proved herself to me a superb stage comedienne, and she is again in this, albeit in a criminally small role. The funniest comedy on stage, though, was definitely in everything Amy Booth-Steel brought to Sara Jane Moore, lighting up the stage with recognisably human, yet larger than life, comedic and klutzy instinctive reactions in the moments. It's funny to think that she massively out-funnies here the celebrated comedienne who took the role at the Menier, and was mistakenly focused, in my opinion, on more naturalistic dramatic acting in that production. Danny Mac was impassioned and commanding as John Wilkes Booth, never better than when he shared the stage with assassin protégés, egging them on with fire. And I could listen to Liam Tamne singing for hours. And Sam Oladeinde brings an affecting vulnerability to his Czolgosz. All in all, while this does not match the 5 star majesty of the superlative Jamie Lloyd production, this is nonetheless great 4 star fun, and in its political maga rally type setting, prescient and illuminating.
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Post by singingbird on Jun 15, 2023 18:51:28 GMT
Saw today's matinee, and really enjoyed it. The political elements of Polly Findlay's vision are terrific, but the spare staging of some of the book scenes do show up some static passages of the book. Peter Forbes, who always excels at projecting preening and/or flailing masculine narcissism, is an actor who can walk from one Sondheim to another and always fit in, and he does so majestically here. Amy Booth-Steel breathes so much (comic) life into the role of Sara Jane Moore, she almost steals the show. . . Some spoilers follow. . . I remember the first time I saw the (superior) Menier production of this, the book writer, John Weidman, was seated near me, proudly and justifiably receiving so much love from admirers approaching him that he was practically holding court. I think what Jamie Lloyd did to make his book work so consistently and so well in that production was to meld it into something bigger, never to abandon the book on stage alone: after all, all the actors were trapped as "freaks," in a carnivalesque freak show, with no escape except for the demon mouth of a gigantic freaky clown lol. Consequently, when the music went quiet, and the actors were gabbing away in character with their self-justifying drivel (if they were capable of expressing themselves profoundly, they'd hardly have turned to murder, after all), you could always see the reactions of all the other attempted murderers, nodding, relating, egging each other on, magnifying each others' grievances and narcissism: a perfect reflection of how all evil acts have to be bounced off other misguided human beings before they become possible. There was so much meaning in this interaction, so much to look at, the book was just the dumb thrumming background noise of huddled grievance, bonding and building towards evil. Here, actors left alone with the book alone on that vast stage feel abandoned to the pathetic grievances of their all too human flaws, leaving dull patches. When actors do share the stage, too often they look more like students, lounging around a capacious Oval office on a school trip, rather than deadly and banal conspirators. The actors that thrive the most are those gifted by Findlay with what amounts to fully formed variety acts to perform for the audience: Consequently, Harry Hepple's Guiteau's whole performance, book and song - dancing cheerily back and forth towards a stairway to his own gallows, surrounded by news anchors chiming in and echoing his movements as they dance around him - is immensely entertaining, a show and a spectacle that fill the space, even as Hepple fills his frame with Guiteau's ridiculous gleeful naiveté and neediness. So too do Jack Shalloo's Hinckley and Carly Mercedes Dyer's Squeaky Fromme, forming a double act, fill the space with their perverse love duet. Shalloo, one part John Denver style crooner/one part gawky high school student about to commit mass murder, is particularly compelling. One detail of the performance I loved was the red Maga-type hats on all of the orchestra, a wonderful background detail even as Peter Forbes swelled up and swaggered around in full Trumpian glad-handing glory. Another maga-style detail I enjoyed was Lizzy Connolly's pink-purple pant-suit and garish makeup, reflecting the colourful way right wing TV stations decorate their female presenters. But simply seeing Lizzy Connolly again, after a while, as one of the Balladeers was even more of a delightful surprise, as she has long proved herself to me a superb stage comedienne, and she is again in this, albeit in a criminally small role. The funniest comedy on stage, though, was definitely in everything Amy Booth-Steel brought to Sara Jane Moore, lighting up the stage with recognisably human, yet larger than life, comedic and klutzy instinctive reactions in the moments. It's funny to think that she massively out-funnies here the celebrated comedienne who took the role at the Menier, and was mistakenly focused, in my opinion, on more naturalistic dramatic acting in that production. Danny Mac was impassioned and commanding as John Wilkes Booth, never better than when he shared the stage with assassin protégés, egging them on with fire. And I could listen to Liam Tamne singing for hours. And Sam Oladeinde brings an affecting vulnerability to his Czolgosz. All in all, while this does not match the 5 star majesty of the superlative Jamie Lloyd production, this is nonetheless great 4 star fun, and in its political maga rally type setting, prescient and illuminating. Such a smart, intelligent post.
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Post by anthony40 on Jun 18, 2023 14:47:56 GMT
So I saw this yesterday afternoon- wow! Nothing could have prepared me for what I witnessed.
I know this show well. I have two cast recordings and have seen several productions, both professional and amateur.
The Donmar Production was the first time I actually (truly) understood the show.
And as brilliant as that production was, yesterday's just blew everything I've seen before out of the water!
That was a large auditorium and as far as I could see, it was full. I loved the use of the screens as a roulette of former Presidents.
The whole ramping up of the audience was so clever! I actually though that this must be a slither of what it must be like to be a politically enthused American at a rally!
The positioning of the orchestra- didn't even realise that's what they ere till they started playing. Given the theme of the rally, I thought that we recording tallys! Lol!
I don't necessarily disagree with a lot that has been said however Lizzy Connolly- didn't even realise it was her. Same with Luke Brady as Giuseppe Zangara.
Having each assassin sitting amongst the audience was (truly) inspired.
Not gonna lie- I was uncertain about Sam Oladeinde as Leon Czolgosz but he actually grew on me.
I though Danny Mac as John Wilkes Booth was just outstanding!
I loved the way the roles of the Balladeers, spit and television journalists really worked.
Amy Booth-Steel as Sara Jane Moore stole every scene she was in.
For anyone else whose seen it, did anyone else think that the bearded Harry Hepple as Charles Guiteau with the hat looked like Fagin from Oliver?
For me, the only 'weak' performance was Samuel Thomas as Lee Harvey Oswald. He just wasn't 'strong' enough. That said, I did shed a tear when they showed the famous footage of JFk being shot and Jackie climbing over the back.
Having read through the previous posts, I note various comments about Nick Holder as Samuel Byck. As I say, I know this show well and all of the characters and for my money, that was the best Sam Byck I've ever seen.
Someone commented in a previous post the length of his speeches; that's how they're written in the book. And if you understand the character, you'd understand why.
There's actually a film called The Assassination of Richard Nixon with Sean Penn as Byck
You sit back and think of all of the assassins as nuts, or crazy. However, regardless of your personal opinions, they all had their own beliefs and motivations for doing what it is that they did.
I beg that this transfers- and if it doesn't that someone, somewhere- somehow captures this on film
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Post by Someone in a tree on Jun 18, 2023 15:49:13 GMT
Concept 10 Musical staging 10 Band 10 Book scenes 4
The pacing is really uneven and two of the men in pivotal roles are weak. Thankully Lizzie Connolly, Harry Hepple, and Peter Forbes are the opposite and are smashing.
The creativity of the pre show, use of tickertape and the insurrection all shine new light on this masterpiece of a musical.
I'd like for this production to have another life, preferably in a venue that does not have the charisma of an areoplane hanger. With directorial focus on the book scenes it could be as strong as the Menier and Watermill productions but at the moment it's very uneven.
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Post by mrbarnaby on Jun 18, 2023 15:54:36 GMT
So I saw this yesterday afternoon- wow! Nothing could have prepared me for what I witnessed. I know this show well. I have two cast recordings and have seen several productions, both professional and amateur. The Donmar Production was the first time I actually (truly) understood the show. And as brilliant as that production was, yesterday's just blew everything I've seen before out of the water! That was a large auditorium and as far as I could see, it was full. I loved the use of the screens as a roulette of former Presidents. The whole ramping up of the audience was so clever! I actually though that this must be a slither of what it must be like to be a politically enthused American at a rally! The positioning of the orchestra- didn't even realise that's what they ere till they started playing. Given the theme of the rally, I thought that we recording tallys! Lol! I don't necessarily disagree with a lot that has been said however Lizzy Connolly- didn't even realise it was her. Same with Luke Brady as Giuseppe Zangara. Having each assassin sitting amongst the audience was (truly) inspired. Not gonna lie- I was uncertain about Sam Oladeinde as Leon Czolgosz but he actually grew on me. I though Danny Mac as John Wilkes Booth was just outstanding! I loved the way the roles of the Balladeers, spit and television journalists really worked. Amy Booth-Steel as Sara Jane Moore stole every scene she was in. For anyone else whose seen it, did anyone else think that the bearded Harry Hepple as Charles Guiteau with the hat looked like Fagin from Oliver? For me, the only 'weak' performance was Samuel Thomas as Lee Harvey Oswald. He just wasn't 'strong' enough. That said, I did shed a tear when they showed the famous footage of JFk being shot and Jackie climbing over the back. Having read through the previous posts, I note various comments about Nick Holder as Samuel Byck. As I say, I know this show well and all of the characters and for my money, that was the best Sam Byck I've ever seen. Someone commented in a previous post the length of his speeches; that's how they're written in the book. And if you understand the character, you'd understand why. There's actually a film called The Assassination of Richard Nixon with Sean Penn as Byck You sit back and think of all of the assassins as nuts, or crazy. However, regardless of your personal opinions, they all had their own beliefs and motivations for doing what it is that they did. I beg that this transfers- and if it doesn't that someone, somewhere- somehow captures this on film The Donmar was the first UK production though!
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Post by thistimetomorrow on Jun 18, 2023 19:16:33 GMT
Concept 10 Musical staging 10 Band 10 Book scenes 4 I thought this too. The concept worked so well and I really enjoyed all the cast, but some of the book scenes were just quite boring
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Post by mrbarnaby on Jun 18, 2023 20:15:58 GMT
Concept 10 Musical staging 10 Band 10 Book scenes 4 I thought this too. The concept worked so well and I really enjoyed all the cast, but some of the book scenes were just quite boring I think that’s the fault of the piece though?
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Post by Someone in a tree on Jun 18, 2023 20:27:43 GMT
I thought this too. The concept worked so well and I really enjoyed all the cast, but some of the book scenes were just quite boring I think that’s the fault of the piece though? I disagree, as this is the first time I was bored in Assassins. For me the review structure works brilliantly as what is presented is so derranged and interesting.
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Post by theatrelover123 on Jun 18, 2023 21:59:56 GMT
I think that’s the fault of the piece though? I disagree, as this is the first time I was bored in Assassins. For me the review structure works brilliantly as what is presented is so derranged and interesting. Revue or review?
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Post by Someone in a tree on Jun 19, 2023 5:43:55 GMT
Sorry, typo, should be review
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Post by jr on Jun 19, 2023 7:58:22 GMT
I thought this too. The concept worked so well and I really enjoyed all the cast, but some of the book scenes were just quite boring I think that’s the fault of the piece though? I don't think it is the piece. I think it is the directing and acting. It is all surface with no depth. Though I seem to be in the minority, I feel very strongly about this.
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Post by theatrefan62 on Jun 24, 2023 18:08:06 GMT
Saw this this afternoon, 5 star production of a 4 or 3 star show.
I enjoyed this much much more than the Menier production but agree, as before, some book scenes are still bit boring and kill the flow.
Very impressive set and staging, more than what's shown in the stage photos before it starts. Cast universally excellent. First time I've seen Danny Mac really impress, found him a bit vanilla before but he really is excellent here.
Found tge ending powerful.
This definitely deserves a longer life but can't think where it would fit.
Is the audience participation always there? Was funny to be picked on (and I usually hate that type of thing) but I can't imagine some of Chichesters traditional audience swearing or getting up and hugging.
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Post by anthony40 on Jun 24, 2023 18:27:25 GMT
You know when I saw this the guy playing John Hinkley actually made me feel a little uncomfortable- read into that what you will.
You know, although I was only 11 at the time, I do remember Ronald Regan being shot. Of course I was in Australia and too young to know the back story and of his obsession with Jodie Foster, but I do remember it.
The assassination attempt on Gerald Ford was 1975- so I would have been 5 and too young to know what it was or remember it.
Sam Byck, again I would have been 4.
Please God let this transfer!
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Post by sf on Jun 24, 2023 21:12:13 GMT
Saw it this afternoon.
An extraordinary clever piece of direction/design that manages to draw clear links between the stories of the various assassins, the flip side of the American Dream, the way the US political system weaponises patriotism, the proliferation of guns and gun violence, the US's vapid media culture, Trump, and January 6th. And an equally extraordinary performance from Danny Mac, and a very good one from Peter Forbes too.
I know the show backwards (a very long time I wrote a chunk of an MA thesis about it; I haven't looked at it in quite a few years, but I was still a line ahead of the book all the way through the show). I did not expect a production of Assassins to surprise me the way this did. A couple of things need refining - the Emma Goldman scene didn't work - but it's a confident, intellectually rigorous, tremendously entertaining revival with a fascinating take on the material. My biggest complaint about it is that the Chichester run ends today and I need to see it again.
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Post by mrbarnaby on Jun 24, 2023 22:59:00 GMT
Saw it this afternoon. An extraordinary clever piece of direction/design that manages to draw clear links between the stories of the various assassins, the flip side of the American Dream, the way the US political system weaponises patriotism, the proliferation of guns and gun violence, the US's vapid media culture, Trump, and January 6th. And an equally extraordinary performance from Danny Mac, and a very good one from Peter Forbes too. I know the show backwards (a very long time I wrote a chunk of an MA thesis about it; I haven't looked at it in quite a few years, but I was still a line ahead of the book all the way through the show). I did not expect a production of Assassins to surprise me the way this did. A couple of things need refining - the Emma Goldman scene didn't work - but it's a confident, intellectually rigorous, tremendously entertaining revival with a fascinating take on the material. My biggest complaint about it is that the Chichester run ends today and I need to see it again. Don’t despair. A transfer is being worked on
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Post by Being Alive on Jun 24, 2023 23:31:39 GMT
Ah, so you've finally heard the same as me Mr B!
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Post by showtoones on Jun 25, 2023 1:39:57 GMT
To keep the cast in tact, it would need to transfer in the Autumn I’d think. Are there any avail theatres?
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Post by mrbarnaby on Jun 25, 2023 7:16:13 GMT
To keep the cast in tact, it would need to transfer in the Autumn I’d think. Are there any avail theatres? It may not transfer to a west end theatre ….
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Post by c4ndyc4ne on Jun 25, 2023 10:12:09 GMT
To keep the cast in tact, it would need to transfer in the Autumn I’d think. Are there any avail theatres? It may not transfer to a west end theatre …. God I hope it’s not the troubadour
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Post by mrbarnaby on Jun 25, 2023 10:25:56 GMT
It may not transfer to a west end theatre …. God I hope it’s not the troubadour Haha no
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Post by Someone in a tree on Jun 25, 2023 12:55:57 GMT
God I hope it’s not the troubadour Haha no Bridge or the other Nick one at King's Cross? @sohoplace?
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Post by sf on Jun 25, 2023 14:57:09 GMT
To keep the cast in tact, it would need to transfer in the Autumn I’d think. Are there any avail theatres? It may not transfer to a west end theatre …. I could make a case for the National to put it in the Olivier... (I know, I know. But I can dream.)
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Post by theatrefan62 on Jun 25, 2023 15:05:00 GMT
If what Being Alive said about the Old Vics 2024 schedule being all up in the air is true, maybe the Old Vic after Christmas Carol?
The Old Vic did house the Chichester production of Kiss Me Kate there so there is a precedent. It could be a good theatre for it size wise.
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Post by mrbarnaby on Jun 26, 2023 7:06:21 GMT
If what Being Alive said about the Old Vics 2024 schedule being all up in the air is true, maybe the Old Vic after Christmas Carol? The Old Vic did house the Chichester production of Kiss Me Kate there so there is a precedent. It could be a good theatre for it size wise. It isn’t the Old Vic
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