i have to disagree with the venerable and respected Mr. Roxy there. I think that score as is to be one of the greatest achievements (though underappreciated) since the 1980's. The show will likely be a successor to NIGHT MUSIC and SWEENEY and enter the opera repertoire. The way Sondheim both celebrates and subtly twists the traditions of American music, then relates them to the alternate version of that "american dream and drive" is a brilliant masterstroke. Listening to that score, you hear Sousa, and Copland, and ritual music that graces graduations and state occasions and memorials, campaign songs, story-telling ballads, barbershop quartets, even folk rock like the Carpenters. All American sounds/traditions for a not truly "anti-American" thesis. The score plays like a soundtrack for every quintessential American scene in countless films, which comforts us at the same time the content of the libretto and lyrics disturb us. It's inherent dramatic tension, wonderfully evoked. And his lyrics are all so strong, without being esoteric for the majority like some of his work. This show is incredible when performed well. That Santa monolog, and the women's duet scene, are the best examples of black humor I can think of. The show needs a revival, but when the mood of the country is right. It may never be a commercial success and that doesn't matter. It's art, which isn't easy! *grin* Meanwhile, its regional and academic life keeps us aware of it. Long live ASSASSINS!
Will: They don't give out awards for helping people be gay... unless you count the Tonys.
"I guarantee that we'll have tough
times. I guarantee that at some point
one or both of us will want to get out.
But I also guarantee that if I don't
ask you to be mine, I'll regret it for
the rest of my life..."
