Whatzup article

DIRECTOR'S NOTES

"We are sitting in the dark, still wondering how such a deed could have been done by a man in his sound and sober senses in fair and free America and appalled at the possibility of a sane man murdering an American president."

Between 1853, when Richard Lawrence's pistols misfired and Andrew Jackson's life was spared, and 1981, 16 assassination attempts directed at nationally prominent political figures occurred in the United States. There is something paradoxical about such events in a nation with a well-established democratic tradition of electoral stability, where authority to govern is peacefully transferred from party to party and from one administration to another, as the political preferences of the electorate are expressed at regular intervals. But assassinations, like elections, represent a recurring and perplexing phenomenon in American politics. Why?

Is the commonness -- some might say the banality -- of assassinations in the United States symptomatic of a culture gone haywire, where handguns are as available as wristwatches, where theatre audiences throng to view the blood-drenched screens of horror movies, and where only the very brave or very foolish walk city streets at night? Is this form of political violence a normal consequence of a highly competitive society that continues to define its heroes in terms of the rugged individualism of a frontier past-a society where success is now defined in unreachable and frustrating terms for substantial segments of its people, and too many corrupt politicians accumulate wealth and power at their expense? Or is assassination merely the attempt of a mentally ill person-someone deranged, a deviate, unlike most of us who, in the grip of some delusion, attempts to redress imagined grievances, or perhaps in a twisted sense of hero worship or jealousy attempts to lock himself forever in the pages of history with some famous political figure?

Names -- John Wilkes Booth, Lee Harvey Oswald, Sirhan Sirhan, James Earl Ray, Arthur Bremer, and more recently, John Hinckley -- symbolize the darker side of American political life: sad, bloody, irremovable stains on our national consciousness. But the strong emotions -- the sadness, outrage, and indignation -- that their acts and the acts of their more obscure counterparts triggered have also clouded our understanding of them and, as a result, the assassination phenomenon in America. (James W Clarke, American Assassins: The Darker Side of Politics)

For a long time, the musical has had a reputation as America's single most significant contribution to world theatre, a curious distinction for a genre which most critics and scholars still refuse to take seriously. With Assassins, Sondheim and Weidman have pushed the genre to new heights by giving us the most non-musical musical in history. In this one show they place us face to face with some of the most controversial figures in American history -- not to mention the overt controversial subject matter -- and attempt to give us an insight into their acts. Assassins attempts to show that these killers and would-be killers are as much a product of American society as the men who were their targets. Weidman explains:

Over the years, theorists have come up with neat, compact explanations about why a person would be driven to assassinate. One of the most popular blames the actions of the assassin on mental illness. Time magazine, for instance explains that most assassins have been "diminished by a powerful parent, unable to express themselves or let out their normal aggressive and sexual feelings. When the demons inside finally burst through, an ordinary victim would not do. The target had to be as far above the average citizen as the parent was above the assassin-son." (fime, 1981: 42)

This Freudian perspective conveniently labels the assassins as deviants from society. This theory blames the individuals instead of the society which created them. This explanation is safe and distant. It allows us to place a comfortable barrier between "them" and "us" in order to separate the "normal" from the "abnormal." To examine our unhealthy society too carefully might suggest that we are all to blame. It might force us to examine our own hopes and dreams, and in the process, realize that we are not so different from those we label as sick.

The typical violent offender strikes out at someone with whom he has at least been acquainted, and often at someone with whom he is intimate. After his attack he is filled with guilt or remorse. But common men-clerks, lawyers, scientists, and the like can be recruited as soldiers to kill perfect strangers without remorse or regret, in the name of a cause. In this regard, the assassin resembles the patriot, not the typical murderer.

-From Assassination and Political Violence: A Report to the National Commission on the Causes and Prevention of Violence

ABOUT THE PLAYWRIGHTS

STEPHEN SONDHEIM

Stephen Sondheim wrote the music and lyrics for Passion (1994), Assassins (1991), Into the Woods (1987), Sunday in the Park with George (1984), Merrily We Roll Along (1981), Sweeney Todd (1979), Pacific Overtures (1976), The Frogs (1974), A Little Night Music (1973), Follies (1971, revised in London, 1987), Company (1970), Anyone Can Whistle (1964), and A Funny Thing Happened on the Way to the Forum (1962), as well as lyrics for West Side Story (1957), Gypsy (1959), Do I Hear a Waltz? (1965), and additional lyrics for Candide (1973). Side By Side By Sondheim (1976), Marry Me a Little (1981), You're Gonna Love Tomorrow (1983), and Putting It Together (1992) are anthologies of his work as composer and lyricist. For films, he composed the scores of Stavisky (1974) and Reds (1981) and songs for Dick Tracy (1990), for which he won an Academy Award. He also wrote songs for the television production Evening Primrose (1966), co-authored the film The Last of Sheila (1973) and the play Getting Away with Murder (1996), and provided incidental music for the plays The Girls of Summer (1956), Invitation to a March (1961), and Twigs (1971). He won Tony Awards for Best Score for a Musical for Passion, Into the Woods, Sweeney Todd, A Little Night Music, Follies and Company. All of these shows won the New York Drama Critics Circle Award as did Pacific Overtures and Sunday in the Park with George, the latter also receiving the Pulitzer Prize for Drama (1985). Sondheim was born in 1930 and raised in New York City. He graduated from Williams College, winning the Hutchinson Prize for Music Competition, after which he studied theory and composition with Milton Babbitt. He is on the Council of the Dramatists Guild, the National Association of Playwrights, Composers, and Lyricists, having served as president from 1973 until 1981, and in 1983 was elected to the American Academy of Arts and Letters. In 1990 he was appointed the first visiting professor of contemporary theatre at Oxford University and in 1993 was a recipient of the Kennedy Center Honors.

JOHN WEIDMAN

John Weidman wrote the book for Pacific Overtures, music and lyrics by Stephen Sondheim, which was produced and directed on Broadway in 1976 by Harold Prince. More recently, he co-authored the new book for the 1987 Broadway revival of Cole Porter's Anything Goes, and wrote the book for Assassins, music and lyrics by Stephen Sondheim, which was produced off-Broadway in 1991 under the direction of Jerry Zaks. Since 1986 he has written for the PBS children's show, Sesame Street, receiving five Emmy Awards for Outstanding Writing for a Children's Program. He is currently writing an animated feature film for Walt Disney Studios with Lynn Ahrens and Stephen Flaherty, and a new musical with Richard Maltby Jr. and David Shire. Weidman is a graduate of Yale Law School and a member of the New York Bar Association. He lives in New York with his wife and two children.

ABOUT THE CAST

Daniel B Ambrose (John Hinckley) is a junior theatre major at IPFW Most recently he was Lucky in Dames at Sea at IPFW Also at IPFW he performed as Touchstone in As You Like It, and Cousin Jeff in Auntie Mame.

William David Andrews (Swing II) works at Embassy Apartments in the leasing department. He last performed with the IPFW theatre as Mr. Upson/Ensemble in Auntie Mame. Other roles include Jesus Christ in Godspell at Hope United, and Priest III in Jesus Christ Superstar at the First Presbyterian Theatre.

Bridget Bannec (Swing V) is an IPFW theatre major She recently played Ruby in Dames at Sea at IPFW. Other performances include Ellie in Leader of the Pack and Philia in A Funny Thing Happened on the Way to the Forum, both at the Arena Dinner Theatre.

David Owen Boggs (John Wilkes Booth) works at Bishop Dwenger High School where he is the director of choral activities. Most recently at IPFW he played Herbie in Gypsy He has performed in such roles as the hog farmer in the barbershop quartet in State Fair; and Benny Southstreet in Guys and Dolls, both at the Fort Wayne Civic Theatre.

Tracy M. Collins (Charles J. Guiteau) graduated from Saint Francis College in 1993 and is now an R.N. at Parkview Hospital Surgical/Trauma Intensive Care. Most recent roles include Mr. Morse in Hot L Baltimore, and Laurance, Agnes/Beth, and Waiter in Durang Durang, both at IPFW.

Ty Davisson (Lee Harvey Oswald) is a sophomore pre-engineering major at IPFW This is his first performance with the IPFW Department of Theatre, and is excited to be working with the director and cast.

Mark C. Dunn (Leon Czolgosz) is a sophomore theatre major at IPFW Most recently for IPFW he played Hennesey/Captain in Dames at Sea. Other IPFW performances include Paul Granger III in Hot L Baltimore, and Tilden in Buried Child

Jane Rebekah Fraizer (Swing III, Emma Goldman) is a senior theatre major at IPFW She most recently performed at IPFW as Jackie in Hot L Baltimore. Other roles include Rosalind in As You Like It, and Gooch in Auntie Mame, both at IPFW

Tony Fumarolo (Boy) is currently in sixth grade at Summit Middle School. Recent roles include Tom from CameLot at the Fort Wayne Civic Theatre, and Roo in Winnie the Pooh for the Fort Wayne Youtheatre. This is his first production with IPFW.

Michael Todd Harris (Swing I) graduated from the University of Mobile, Ala., in 1992. He is now a loan processor at Homestead USA Inc. Past roles include Albin in La Cage Aux Follies at the Arena Dinner Theatre, and Jesus in Jesus Christ Superstar at the First Presbyterian Theatre.

Nancy Kartholl (Sara Jane Moore) has a B.A. in acting and directing from Barat College in Lake Forest, Ill. She is now a closing manager at Homestead USA Inc. She most recently performed as April Green in IPFW's production of Hot L Baltimore. Other roles include Amalia in She Loves Me at the Arena Dinner Theatre, and Kate in The Taming of The Shrew at the Fort Wayne Civic Theatre.

Jeffrey Steven Kreischer (Swing Iv) is a freshman communications major at IPFW: He most recently performed at IPFW as Beekman Mover in Auntie Mame. He was also Fairtone in State Fair at the Fort Wayne Civic Theatre, and James in Jesus Christ Superstar at the First Presbyterian Theatre.

Gary Lanier (Giuseppe Zangara) is the secretary of the IPFW School of Fine and Performing Arts and associate faculty for the IPFW Department of Theatre. He most recently played lto in Auntie Mame for IPFw: Other roles include Emcee in Cabaret at the Arena Dinner Theatre. He was also the associate choreographer for the Fort Wayne Civic Theatre's State Fair.

Jim Nelson (Sam Byck) received a B.A. in theatre from IPFW in 1988 and an MA in speech language pathology in 1996. He now is a speech language pathologist for Southwest Allen County Schools. Past roles include Jake/Frankie, Narrator, Priest, and Jim in Durang Durang and Larry in Burn This; both at IPFW

Melissa "Mavis" Perkins (Lynette "Squeaky" Fromme) is a sophomore theatre major at IPFW She most recently played Suzy in IPFW's Hot L Baltimore. Other roles include Rizzo in Grease at Harding High School and Anybody's in West Side Story at the Center Stage Theatre.

Brian James Porter (Balladeer) is a junior theatre major at IPFW He most recently played Dick in Dames at Sea at IPFW. Other IPFW roles include Jamie in Hot L Baltimore, and Mark Dolson in Mass Appeal.

ABOUT THE PRODUCTION TEAM

John C. Hermes (director/musical director) is a senior theatre major at IPFW Assassins is his senior project for a theatre degree with a directing emphasis. He is a recipient of the Waterfield Scholarship for the 1999-00 school year After graduating from IPFW; he hopes to travel to New York City and receive a graduate degree in musical theatre writing from NYU. "I love this play. Everyone has something to learn from it. Thank you to the faculty for letting me do such a controversial show. And thank you to my friends and family for their support."

Kendra Clauser (dramaturg) is an associate professor of theatre appreciation and fundamentals of performance. She has directed such plays as Antigone at IPFW and The Miss Firecracker Contest for the First Presbyterian Theatre.

D. Brett Harwood (scenic/lighting design) is assistant professor of scenery and lighting design at IPFW He holds an M.FA. from the University of Montana. Harwood's design credits include productions for IPFW Department of Theatre, Fort Wayne Youtheatre, and Montana Shakespeare in the Parks. He also has worked on the feature films The River Wild and Beethoven's 2nd

Sarah N. Lankenau (costume designer) is pursuing a B.A. in theatre with an emphasis in costume design. Assassins is her senior project in costume design. She is the recipient of the Freshman Theatre Scholarship, the Brateman Scholarship, the Withers Scholarship (two years), and has been on the Dean's List for the past four years. "Upon graduation, I will have performed in and designed costumes for six shows. After graduation, I will be designing costumes for Charlottes' Web and Yankee Doodle Dandy for the Fort Wayne Youtheatre. I would like to thank Craig Humphrey for his guidance and my parents and family for their love and support."

Bill Kercheval (assistant stage manager) has worked with the IPFW Department of Theatre since 1985. He has been a photographer, stage manager, house manager, and assistant stage manager for many shows, including Uncle Vanya, Auntie Mame, and The Hot L Baltimore. He recently performed in Funny Girl and Into the Woods for IPFW

Elizabeth A. Wagar (stage manager) is a senior theatre major. Recently, she has performed as the Girl in IPFW's Hot L Baltimore. Ocher characters include Tiger Lily in the Fort Wayne Civic Theatre's Peter Pan and Gloria in the IPFW production of Auntie Mame.

QUOTES

"I presume the president was a Christian and that he will be happier in Paradise than here. It will be no worse for Mrs. Garfield, dear soul, to part with her husband this way than by natural death. He is liable to go at any time anyway."

"Our country owed all her troubles to him (Abraham Lincoln), and God simply made me the instrument of his punishment."

"I had set a course for myself that I hoped I would not be permitted to do...I did not want to kill somebody, but there comes a point when the only way you can make statement is to pick up a gun."

"There is no borderline between one's personal world and the world in general."

"I think it all begins with a lack of respect.

"In America, heroes are meant to be killed. Idols are meant to be shot in the back. Guns are neat little things, aren't they? They can kill extraordinary people with very little effort."

"I still don't regret what I did at all, because I felt at the time, you can't do things with hindsight. You do them with the best knowledge that you have at the time."

"Look, it is just the same as a tree that commences dying-you can see it isn't going to live long."

"Jesus Christ, he good man. He die for poor people when he 33-years-old. I 33 too. And I die for poor people."

Scene 1

"Opening" Balladeer, Assassins

Scene 2 Barn in Rural Virginia, April, 1865

"Ballad of Booth" Balladeer, Booth

Scene 3 A bar

Scene 4 Bayfront Park, Miami, Fla., Feb.15, 1933

"How I Saved Roosevelt" Swings, Zangara

Scene 5 Chicago, 1901

Scene6 Apark,1975

Scene7 Limbo

"Gun Song" Czolgosz, Booth, Guiteau, Moore

Scene 8 The Temple of Music Pavilion at the Pan American Exposition in Buffalo, N.Y., Sept. 6, 1901

"Ballad of Czolgosi' Balladeer, Swings

Scene9 A park, 1974

Scene 10 Hinckley's Basement

"Unworthy of Your Love" Hinckley, Fromme

Limbo

Scene 12 Gallows, 1881

"Ballad of Guiteau" Balladeer, Guiteau

Scene 13 A park, 1975

Scene 17 America

"5omething Just Broke" Swings

Front seat of a '67 Buick, February 1974 Limbo

"Another National Anthem" Assassins, Balladeer

Scene 16 Texas School Book Depository, Nov.22, 1963

"Scene 16" Assassins

"Everybody's Got the Right" Balladeer, Assassins

"When Caesar had conquered the enemies of Rome and the power that was his menaced the liberties of the people, Brutus arose and slew him. The stroke of his dagger was guided by his love of Rome. It was the spirit and ambition of Caesar that Brutus struck at.

"Oh that we could come by Caesar's spirit, And not dismember Caesar! But, Alas! Caesar must bleed for it.

"I answer with Brutus: He who loves his country better than gold or life."

ORCHESTRA

Conductor/Keyboard 2…..John C. Hermes

Flute/Piccolo…..Nancy Drew

B-flat Clarinet/E-flat Clarinet/Tenor Saxophone/Baritone Saxophone/Bass Clarinet…..Sue DeVito

B-flat Clarinet/E-flat Clarinet/Soprano Saxophone/Alto Saxophone/Trumpet/Flugel Horn…..Kevin Drew

Trombone…..Ed King

Guitar/Banjo/Mandolin…..Sigurd Hepler

Percussion…..Neil Graham

Bass…..Josh Wright

Keyboard I…..Wayne Williams

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