Thru Sun 7/31
On the eve of the 2016 presidential election, Near West Theatre’s summer teen/young adult theater, ages 16-25, presents Stephen Sondheim’s examination of the American Dream, the haves and the have-nots, and guns.
A multiple Tony Award-winning theatrical tour de force, Assassins combines Sondheim’s signature blend of intelligently stunning lyrics and beautiful music with a panoramic story of our nation’s culture of celebrity and the violent means some will use to obtain it, embodied by America’s four successful and five would-be presidential assassins. Bold, original, disturbing, and alarmingly funny, Assassins is perhaps the most unexpected musical ever written.
Near West Theatre chose this musical to promote a dialogue about gun control and its effect on America and the rest of the world. Who knew that this musical would find itself being produced in such a tumultuous time?
This production of Assassins is outstanding. I have seen shows at Near West Theatre since 2000, and I can unequivocally say that this teen/young adult production excels because it consists of the finest acting that I have ever seen in some time. The cast is on fire, and the actors embodying the assassins are at the top of their game. Surround them with a superb production team, and the vision of director/artistic director Bob Navis Jr. and this might be one of the best productions ever to hit the summer boards of Near West Theatre.
The Proprietor, played with evil finesse by Leah Windahl, doles out guns as if this was a food bank for the insane. Providing a haunting presence, she always delivers some powerful vocals and superb diction. Patrick Hanlon handles the fractured Leon Czolgosz, assassin of President William McKinley, with a fine accent, and acting choices that enable us to see into the broken man trying to resolve his inner turmoil. His scenes with the superb actress Emily Terry as Emma Goldman are excellent. Edward Gale gives John Hinckley a pathetic and fractured texture, and adds his eloquent voice to the duet “Unworthy of Your Love.” Peter Bradley as Charles Guiteau is a hot mess of fun and delusion. Flitting across the stage with misplaced bravado and unabandoned confidence, he is a blast. Antonio DeJesus gives Giuseppe Zangara a character based in deep turmoil and unrest. Constantly battling his own inner demons and ailments, DeJesus handles the accent and acting with a commanding demeanor.
It would not surprise me if Anna Parchem (Lynette “Squeaky” Fromme) and Molly Walsh (Sara Jane Moore) rented a tour bus and toured the country as a comedy act. Both of these women are firing on all cylinders. Individually that nail all of their scenes, letting themselves completely dissolve into their characters. Of particular note is the beautiful voice of Parchem. Just stunning.
Sometimes productions of Assassins combine the role of The Balladeer and Lee Harvey Oswald, but luckily in this production is does not, because of the fine character work of Marco Colant as Oswald. The production is staged to pick him out of the disgruntled masses trying to stay in their own ballpark of civilization. Colant is perfect. With a smoldering personality and a hard edge, he reveals a tortured soul who strives to feel some sort of passion in life, and eventually gets it in the most unusual way.
Rising to the top of the already impressive actor jenga tower are Dylan Toth (Samuel Byck) and Michael Knobloch (John Wilkes Booth). Both gentlemen are asked to perform the most sustained monologues in the show, Toth alone, and Booth within scene work. Both actors are incredible. Toth handles the Byck monologues like a pro, dissecting them with an intuitive nature that makes the statements about our society and his own internal psychosis remarkable. Knobloch leads this production with immense quality that permeates the entire production. As he questions his own life after his execution of Lincoln, and helms the art of persuasion to get Oswald to do the assassins’ bidding, Knobloch is incredibly grounded in a fierce portrayal of the man who started it all.
This production also does something very unique. The Balladeer is actually four different male actors (Cyle Black, Jabri Johnson, Scott Pyle, Nick Sobotka). Sexuality, Race, Demeanor and Voice are spread throughout the quartet. It totally works, having society comment on the story. It might have been interesting to have a female presence, but the gentlemen serve up a tremendous and engaging narrative to the story. Their singing and dancing are wonderful. And though they all are fearless, particular shout out to Sobotka, who kills the dance.
Special shout out to Joseph Daso & Phil Pantalone who play the Little Boy on alternating nights. These two definitely know how to throw a fit.
The Company plays a carnival troupe, bystanders, laborers, fairgoers and religious fanatics with the utmost focus. They are Matthew Brightbill, Aidan Danovi, Boshy Deak, Bailey Dwyer-Short, Andrew Flynn, Rory Gallagher, Nick Glavan, Alexandria Horbal, Rachel Johanek, Louis Johnson II, Audrey Kunath, Mileena Norman, Julie Penzvalto, Jocelyn Perkins, Bryan Ritz-Spikes, Tim Rivera, Beck Saine, Mary Walsh-Hilf and Eric Wloszek.
The production team excels. Bob Navis Jr helms a tremendous production. Navis pulls amazing performances out of young actors. Assistant director Kelcie Nicole Dugger also adds a positive influence to the proceedings. Stage manager Ryan Wolf called a great show. Assistant stage manager Allan Stubbs handles the backstage pressure well. Scene changes were fluid.
Musical director Matthew Dolan provides a dynamic orchestra and guides strong vocals from the cast, along with assistant musical director Rachel Woods. Esteemed set designer Cameron Caley Michalak outdoes himself with a dark carnival set which perfectly engulfs the story in a mysterious and functional atmosphere. Technical director Josh Padgett professionally brings the elements together, along with assistant technical director Perren Hedderson, who also provides the video design. Rob Wachala does a spectacular job of lighting the show. Sound designer Josh Caraballo provides balanced sound and clear communication from the cast. Costume designer extraordinaire Sarah Russell knocks another production out of the park. Choreographer Josh Landis provided energetic movement, and a special shout to the West Side Story scene change.
This is a great show. See it. Support the actors journey here in Cleveland, and potentially beyond.
[Written by Kevin Kelly]
[Photos by Cory Markowitz]
7:30pm Fridays
Tickets: $8-$20 reserved seating/general admission.
Cleveland, OH 44102