Assassins - Roleystone Theatre (1 March 2025)

Let's not beat around the grassy knoll. Assassins is one of my favourite musicals. I love the audacity of telling a story - a musical no less! - about those misbegotten fiends who successfully assassinated or tried to assassinate a president of the good ol' US of A. All because "Everybody's got the right/To be happy."

Of course it's Sondheim. It could only be Sondheim. With a deliciously subversive Book by John Weidman which features one of my favourite sequences in pretty much anything which I won't spoil here but is still as astonishing a piece of writing as the first time I saw it back in 2015. 

The tone is darkly satirical and by dark I mean at the bottom of a mine shaft, complete absence of light, dark. Which some may find challenging or perhaps miss the point of, whereas I find utterly invigorating. This isn't a hum-hum-hummable musical with happy lyrics and a leggy chorus line - this is a savage commentary on the American dream, gun culture, and the lengths desperate people go to after being marginalised and cast aside. If you tell a whole nation they can be anything they want then create a system where that's abundantly untrue, well, sometimes a president or two might get shot. 

I deliberately called them misbegotten fiends and it's true, there's a high level of dysfunction and self-delusion here. But the musical also scratches beneath the surface of these footnotes in history to try and explain their actions without exonerating them. Some names are eternal - John Wilkes Booth and Lee Harvey Oswald at the forefront; others are largely forgotten or oddities now. It's an eclectic mix across time, across rationales, across personality types and circumstances. It's also bleakly funny in ways that cut deep. 

Director Christopher Alvaro has made several key decisions in this version. The first is to forgo the usual gaming arcade set; instead opting to depict the white frontal columns of the White House with the orchestra nestled behind them. Characters literally take aim at the workplace and residence of  the president; several incarnations of whom wander by in the form of Peter 'Pear' Carr who also designed the set with Alvaro.  

The second is to dial up the performances to 11. This is a full-throated assault as the cast magnify the grievances, real and imagined, of these figures, almost haranguing the audience in the process. It's bold and, when it works best, utterly electrifying. Apologies, Giuseppe Zangara (Marshall Brown). 

The satirical tone is immediately established as The Proprietor (Carr again) entices our wannabe assassins to purchase a gun in the opening number Everybody's Got The Right and solve all their problems by shooting a president. The intensity that follows is led by the wonderfully earnest performance of Mark Thompson as the pioneer of all American presidential assassins, John Wilkes Booth. He commands the stage as he does the other assassins, imbuing Booth with commitment and passion. We have no doubt Booth believes in the (misguided) cause he spilled blood for in notorious fashion. The vainglorious actor who changed the course of history.

In contrast, the transparently vain Charles Guiteau (Rp van der Westhuizen) hawks his book, claims he is extraordinary, and demands to be Ambassador to France; the refusal to name him as such leading to President James Garfield's demise. The showstopper, The Ballad of Guiteau, becomes an increasingly fraught display that verges into true horror as Guiteau stares mortality in the eye as the gallows are assembled before him. The manufactured charm and confidence van der Westhuizen portrays the character with earlier evaporates into manic fear. Not for the fainthearted! 

Ethan Battle doubles down on the earnestness as his Leon Czologosz features in several key moments - the harrowing story of how a bottle is made after John Hinckley (Lochlan Curtis) carelessly breaks one in a bar; the encounter with the anarchist Emma Goldman (Erin Craddock) who he has been following and declares his love for; leading off the aptly named The Gun Song; oh, and his assassination of William McKinley. 

Paul Treasure, bedraggled and decked out in a Santa outfit befitting a child's worst nightmare, excels as Samuel Byck. Gifted with two brilliantly written monologues - one directed at Leonard Bernstein ("Lenny"); the other to Richard Nixon ("Dick") who Byck intends to kill by flying a 747 into the White House. Treasure expertly modulates his delivery from conversational to outright bile as he pours Byck's disenchantment and rage into a tape recorder while happily munching away on a sandwich or burger. It's exhilarating to watch.   

Another standout is Sonja Reynolds as Sara Jane Moore, the absentminded, would be assassin of Gerald Ford who teams up with Charles Manson acolyte, Lynette "Squeaky" Fromme (Madeleine Shaw) in a compression of real events. Shaw brings the creepy, cult-like vibes while Reynolds imbues Moore with a ditzy air that adds genuine comic relief. You sense Ford was never in any real danger though fried chicken and pooches should be wary! 

Marshall Brown adds to the intensity in stomach churning fashion playing the man who tried to assassinate FDR while Lochlan Curtis is quietly obsessed as Hinckley. The closest you get to a ballad in this musical is Curtis and Shaw singing of their love for, ahem, Jodie Foster and "Charlie" respectively. Yep, it's dark alright!  

Erin Craddock is featured as Emma Goldman and leads the ensemble, most notably in the show closer Something Just Broke which follows the exceptional 15 or so minute sequence that is brilliant in its sheer audacity. And is where we talk about Matthew Walford's Balladeer, the clean cut presence who seemingly mocks this collection of misfits before... go see it, you'll be astounded. Walford adds a slice of genuine Yankee spirit that turns into bewilderment as events transform his character. 

The score, as you would expect, is superb and well played by the orchestra under Krispin Maesalu. Lighting design by Alvaro is very stylistic with each assassin having their own colourful backdrop as Booth thrusts them literally into the spotlight. Like the musical styles Sondheim uses, the costumes also have to cover a range of time periods and fashions which Cherie Alvaro manages well; that grimy Santa suit and Booth's handsome attire to the fore. First time choreographer, Tatum Stafford, adds more movement than I expected with, again, a playfully satirical style at work. 

My main issue, however, is that this IS Sondheim so the lyrics are incredibly important. With no pit and a sizeable orchestra directly behind the cast, it was a battle at times to clearly make out and savour those words. The volume on the mics was turned up high to compensate which often led to some distortion and, when there was shrieking to be done in non-musical moments, became somewhat painful.  

However, I walked away impressed by a total cast commitment to going for broke with their characterisations and how relevant this musical is today, perhaps more so than its debut off-Broadway in 1990 and its 2004 Broadway revival given current events in America. An outstanding entry into the Sondheim canon which is tackled with real verve here. 

Assassins is on at the Roleystone Theatre until 15 March.

Top Ten Theatre Productions in 2014 - Musicals & Cabaret

It was a big year for musicals, especially comedy musicals. From trailer parks to roller skating rinks, from Transylvania to the vastness of space, and even the Hollywood of the future to alien invasions in 1950s American suburbia, it was a wild ride. WAAPA proved yet again why they are the pre-eminent training academy for musical theatre in the country while the Koorliny Arts Centre had another strong year. There was the further emergence of a local writing and performing duo whose audacious ‘holiday special’ presages a very bright future.

To my favourites:

1. West Side Story (WAAPA)

A spectacular production at the Regal Theatre boasting the combined might of WAAPA’s second and third year musical theatre students and a host of talented students from all other departments. Throw in a wonderful set, an orchestra in fine form, and one of the best ever musicals and it was a highlight of the year.

"It’s not a feeling I get often but the buzz around WAAPA’s mid-year showcase production at the Regal Theatre has been enormous and I was hoping, expecting, pleading for magic and that’s exactly what was delivered – magic of the most potent kind. If you had told me that baton was a wand I would have believed you."

2. Children of Eden (WAAPA)

A production that took me totally by surprise but left me thoroughly impressed as WAAPA’s second year students announced their arrival in exuberant style.

"I’m happy to report that any reservations I had disappeared almost immediately in what turned out to be a spectacular production. The second years were uniformly excellent; it is a beautiful score with wonderful songs; and the venue was comfortably configured and used to maximum effect. I walked away with a real sense of the ‘wow’ factor hence my delighted surprise."

3. Hair (WAAPA)

WAAPA’s third year students kicked off their final year with a bang with this performance of the rock musical that harkened back to the era of flower power and the Vietnam War getting the tone and atmosphere spot on.

"The main players were more than ably supported by the rest of the cast who had a wonderful sense of energy and chemistry as they genuinely enjoyed the playful choreography and playground style set. Then there was the eight piece band that was in terrific form led by musical director David King."

4. Oliver! (Mandurah Performing Arts Centre) 

You know it’s been a good year when this joyous production is only fourth on the list. One of the highlights of 2014 was the massed cast including some 40 children performing Consider Yourself.

"When musical theatre gets it right, when everything is firing on all cylinders – the performances, the vocals, the orchestra, set, costume, lighting,everything – it is a sight and sound to behold."

5. Merrily We Roll Along (WAAPA)

The final production for WAAPA’s sterling third year class who lapped up Sondheim’s musical in the more intimate Roundhouse Theatre.

"After the big, elaborate musicals of the last few days over in Melbourne this show was a pleasant reminder that a stripped back production such as this in an intimate setting with talented performers and musicians can be just as entertaining and memorable. And yes, Mister Sondheim, I was tapping my feet more than once!"

6. The Jones/Woods Holiday Special (Holland St Productions)

A retrospective greatest hits package as hilarious as it was audacious that featured Gravity the Musical that lampooned and adored Alfonso Cuaron’s film in equal measure.

"This company of talented performers clearly relished working with such quality material and, again, there was real chemistry between them all. The fact that the show was put together with something like only three weeks rehearsal time is testament to their abilities. The audience response was as enthusiastic as anything I’ve seen in Perth – foot stomping intensity in fact! "

7. Young Frankenstein the Musical (Koorliny Arts Centre)

The very first production I saw this year and what a way to start. The kind of craziness that only Mel Brooks could summon brought to kooky life down at Koorliny.

"Based on the Mel Brooks’ movie of the same name, it exhibits the typical Brooks sense of humour as it parodies the horror genre. The gags can be a little hit and miss but I generally found this very funny. It is also performed and directed with great verve and there are many wonderful set pieces."

8. The Great American Trailer Park Musical (Roleystone Theatre)
Another great surprise of the year. What a raucous, hollerin' and a stompin' good time this was with a lovely sweetness under all that big hair, outrageous costumes and trashiness.

"What impressed me most is that beneath the raunchy and crass exterior that poked fun at the ‘white trailer park trash’ stereotype there was an underlying sweetness and genuine affection for these characters."

9. Point & Shoot: A New Musical (Holland St Productions)

I was fortunate enough to see the additional performance that was added to this show's run at Fringe. I can see why there was such a demand as this is clever, funny, and wildly entertaining. 

"This is an hilarious and pointed satire of Hollywood and the filmmaking business with a clever plot ("twist") and biting lyrics. The four actors play multiple roles and instruments and all are in fine voice. The transitions are seamless and this rockets along at a frenetic pace."

10. This Is Why We Can't Have Nice Things (Gillian Cosgriff)

Another show I was lucky to catch at the tale end of its run at Fringe. Based on Cosgriff's own experiences the songs here are pointed, funny, and insightful, delivered with real panache.  

"A front row seat meant I was only 2-3 metres away from Cosgriff who proved to be a vivacious, witty, and very charismatic presence as she combined original songs with insights into her life and that of her generation, those of the already nostalgic mid-twenties."

Female Performer of the Year - Suzie Melloy

In a spectacular show that did so many things so well, Melloy stood out as Anita in West Side Story. She "gives a star making performance as the feisty Anita – she is simply superb and a real charismatic presence."

Male Performers of the Year - Tyler Jacob Jones & Robert Woods

I am usually the first person to rail against ties but you can't really talk about one without the other when it comes to musicals. Jones and Woods as creative collaborators and performers are a potent combination with a huge future.

Special Mentions:

Rebecca Hetherington - Gives a fine performance as Mary, the heart and soul of Merrily We Roll Along. "Not only is her acting impressive but vocally she shines..."

Jesse Angus - A full tilt performance in Young Frankenstein where Angus "attacks the role (of 'Fronkensteen') with impressive energy and the appropriate level of mania."

Jon Lambert - Unrecognisable as Fagan in Oliver! after his stint as the Monster in Young Frankenstein. A very charismatic performance. 

Madeleine Shaw - Steals the show as the eponymous lead in Cinderella. The petite performer has a divine singing voice and confident stage presence.

Kohan van Sambeeck - seemingly ever present as a musician in many of the WAAPA productions, van Sambeeck also found time to be Musical Director for The Last Five Years and compose his first original score for the play Closer. 

An excellent year with many other great performances and a couple of shows unlucky not to make the final ten. Thank you to all the casts and crews, musicians, front of house staff and all the other people who make the magic of theatre come to life. I look forward to seeing you all again in 2015!

The Great American Trailer Park Musical - Roleystone Theatre (2 August 2014)

There are times when a production takes you completely by surprise. I’m not exactly sure what I was expecting with a show billed as ‘Desperate Housewives meets Jerry Springer’ but what I ended up seeing was raucously funny, well performed, and a riotous show that had an enthusiastic audience a-hollerin’ and a-whoopin’ on a chilly winter’s night.

What impressed me most is that beneath the raunchy and crass exterior that poked fun at the ‘white trailer park trash’ stereotype there was an underlying sweetness and genuine affection for these characters. These people may be flawed and make bad decisions but ultimately they are more than just stereotypes as they deal with the circumstances they find themselves in. Sure, there’s plenty of craziness along the way, narrated in hilarious fashion by the trio of Betty (Cicely Binford), Linoleum (Cassie Skinner) and Pickles (Therese Cruise) but it’s the central relationship between Jeannie (Joanna Tyler) and Norbert (Mitch Lawrence) that is the heartbeat of the show. They live in Armadillo Acres, a trailer park in Florida. The metaphor of the entrenched mobile home is an apt one – they could move on if only they chose to but habit more than anything keeps them locked in place.

Their marriage, already strained due to a past tragedy that leaves an agoraphobic Jeannie confined to their trailer, is tested further with the arrival of a stripper on the run, Pippi (Caroline Perks). Norbert, frustrated by Jeannie’s inability to step outside her self-imposed comfort zone, finds his own comfort in the arms of Pippi causing havoc in the close-knit community. To complicate matters further, Pippi’s crazed, texter sniffing boyfriend, Duke (Tom Hutton) is on his way from Oklahoma City looking for her. The second act gets a little messy as the plot machinations play out but I was well and truly on board after a stellar first act.

There was a pre-show warm up – audience participation was encouraged – and I must say we were in fine voice. As were the performers – the singing was of a high quality throughout with Cicely Binford, Joanna Tyler and Therese Cruise particularly impressive. Binford, Skinner and Cruise are a riot as the trailer park denizens who set the scene and comment on events with more costume changes than a Cher concert. The cast also sport a spectacular collection of wigs which is a sight to behold especially during the Finale. Norbert, who ostensibly is a schmuck for cheating on his wife, is played with such earnest, aw shucks charm (“ham sammidges!”) by Mitch Lawrence it’s hard not to identify with his dilemma and human frailty.

Joanna Tyler gives the key performance though as she grounds the whole thing playing a woman crippled by fear and doubt who is stuck in one place like the trailer she lives in. Crucially though she wants to be better which makes Norbert’s betrayal all the more devastating… yet is also a catalyst for her eventual ‘mobility’. Caroline Perks is a striking presence as Pippi, playing the stripper as both confident of who and what she is but also resigned to her fate as a storm of judgement besets the character. Then there’s Tom Hutton who threatens to steal the show as the unhinged boyfriend, all redneck machismo and stupidity.

The songs are terrific with clever lyrics that are pointed and funny. The band was a little muted playing behind the middle trailer of the set which is unfortunate as they appeared in rocking good form.

Highlights included a spot on roasting of the Jerry Springer style show in The Great American TV Show with cat fights and all; a beautiful rendition of Owner of My Heart, a sweet number between Lawrence, Perks and Tyler that betrays the affection beneath the boisterous mockery; the closing number of the first act, Storm’s A-Brewin’ with Binford nearly bringing the house down; the deliciously black Road Kill as Duke speeds towards the trailer park taking out everything in his wake; and I was quite taken by Tyler’s Panic as a song that reinforces her character’s predicament. The show ended to well earned, thunderous applause and I thoroughly enjoyed this rollickingly entertaining production.

Directed by Lorna Mackie, Musical Direction by Krispin Maesalu, with Music and Lyrics by David Nehls and a Book by Betsy Kelso, The Great American Trailer Park Musical, starring Cicely Binford, Cassie Skinner, Therese Cruise, Joanna Tyler, Mitch Lawrence, Tom Hutton and Caroline Perks has only two more shows, on 8pm, 8th and 9th August at the Roleystone Theatre. Plan a rendezvous ("that's French for..." you know what, I'll let you discover the answer to that...) out at Roleystone – it’s more than worth it. Just watch out for any bunny rabbits on the way!