CSC’s ASSASSINS Revival - Previews — Page 3

clever2 said: "JasonC3 said: "Why doe he keep getting hired to direct?

Doyle has had acclaimed productions of Passion, Pacific Overtures, A Color Purple, and Sweeney Todd (which extended multiple times).

He is not for everyone's taste, nor does he get it right every time, but let's not pretend the guy has never directed a well-received show."

He's been not for everyone's taste from the beginning. He's a one trick pony. I never said anything about how he has been received. You must do an awful lot of skimming if THAT was your takeaway."

Not sure why the accusatory response. I read everything you wrote and responded to the question you posed.

FWIW, most shows I've been to at CSC seem to have quieter houses before the show begins. I think the intimacy and layout of that space subtly encourages a more low-keyed conversational tone.

Updated On: 11/9/21 at 11:25 AM

Since the licensed version of the show is the Broadway production, “Something Just Broke” is not optional; it’s part of the show. Of course, this means nothing for major revivals by directors who know and get permission from the author, but I think it’s safe to expect it in every production of Assassins.

I’m seeing this at the end of the month, so I’m intrigued to see if things have settled by then. I imagine things are changing day by day right now. I’m still sad I didn’t get to see the 2004 production, but I did see and enjoy the Encores production (I still laugh thinking about Victoria Clark as Sara Jane Moore). I know Assassins is kind of a masterpiece, but it’s difficult to execute (no pun intended).

Extended!

I was there tonight and quite enjoyed it. I'm a huge fan of the material and of many in the cast, and was excited to (finally!) see them tackle this show, after initially purchasing my ticket in January 2020.

I loved Doyle's take on Passion at Classic Stage but was underwhelmed and disappointed by his Pacific Overtures, so I was glad that my feelings about Assassins landed more in line with the former. It's true that this production doesn't present some kind of radical reinvention, nor does it necessarily find anything fresh in the text. But it's well cast and well paced, and I'm grateful for the opportunity to see this material shine in an intimate setting. I was also glad that this production didn't lose any of the show's humor - I always forget how damn funny Assassins is whenever I'm just listening to the score.

I did find the few aspects of the production that referenced current events to be somewhat distracting, as I didn't need those parallels drawn out for me so explicitly. Masks have very much been incorporated into the costuming/concept of this production, and there's a moment during the finale that felt a bit too heavy handed for my tastes. It's interesting to wonder how this production could or would have been different had it happened along its original timeline, as there are so many events from the past 18 months that have sharpened its critiques of this country.

I enjoyed the design more than I was expecting; it's certainly more than just the chairs that others have mentioned in this thread. I found the thrust set-up to be used effectively, and had no issues with sight lines/seeing their backs too much/having actors block the action.

So many of these performers seemed like perfect fits for their roles when casting was announced, and all of them deliver. Steven Pasquale is just as good here as he was in the 2017 Encores! production, Will Swenson seems like he's having a ball with Guiteau, Judy Kuhn is a riot as Moore, and Brandon Uranowitz deserves props for the understated rage he brings to Czolgosz. But, really, there's no weak link here. Ethan Slater had one moment during "Another National Anthem" that really impressed me, and was different from anything I've ever seen in that song.

I'm hoping I'll get the chance to see this again before if closes (now more of a possibility, thanks to today's extension announcement), it for no other reason than I find Assassins to be a truly remarkable piece of musical theatre. It's that rare musical that's as hilarious as it is heartbreaking as it is harrowing, and it's not every day that I get to see a high quality production, even if the direction wasn't always up to par with the material.

HeyMrMusic said: "Since the licensed version of the show is the Broadway production, “Something Just Broke” is not optional; it’s part of the show. Of course, this means nothing for major revivals by directors who know and get permission from the author, but I think it’s safe to expect it in every production ofAssassins.

I’m seeing this at the end of the month, so I’m intrigued to see if things have settled by then. I imagine things are changing day by day right now. I’m still sad I didn’t get to see the 2004 production, but I did see and enjoy the Encores production (I still laugh thinking about Victoria Clark as Sara Jane Moore). I knowAssassinsis kind of a masterpiece, but it’s difficult to execute (no pun intended)."

And there was a licensed version prior to that production which, in fact, provided the option of "Something Just Broke" but in no way required it be done. Assassins has been licensed since the mid 90s. I'm not pulling a rabbit out of my hat here to be told by seventeen thousand people it isn't true.

“And there was a licensed version prior to that production which, in fact, provided the option of "Something Just Broke" but in no way required it be done. Assassins has been licensed since the mid 90s. I'm not pulling a rabbit out of my hat here to be told by seventeen thousand people it isn't true.”

I believe you, and I also know show licenses change. Take a look at what’s currently being licensed when you do Beauty and the Beast, A Chorus Line, Annie, etc.; those shows don’t license original versions anymore. The Broadway revival of Assassins has been the only version licensed since the mid-2000s. I know because I did the show in the mid-2000s.

Great, thank you for replying.

They put tickets on sale 6 minutes before 12 noon. When I went there at noon there were barely any seats left for the performance I wanted. So, that was bullsh*t.

Thankful for extension. Landed a ticket for Friday, January 28.

Jordan Catalano said: "I don’t remember the last time I left an Off-Broadway show feeling like what I’ve just DEMANDS a transfer. As someone who is veeeeeery hot and cold when it comes to Doyle and his distinct directorial choices, personally I can’t fault anything in this new production. Anything.

To me, this is the definition of a perfect cast. I could just name check everyone and say how great they were but that’s a waste of time. I can however, single out Will Swenson who, I think, gave a performance I will remember if I’m lucky enough to live to be 100. That’ll live on my “best performances I’ve ever seen” list from here on out.


"

I agree about the cast. I caught the matinee today and my standouts were Swenson, Kuhn, and Pasquale, but the whole cast is phenomenal.

I ended up getting a ticket to today’s matinee so I have one ticket to sell for Sunday, Jan. 16th at 2:00 p.m. Seat is B201. It’s a “prime” seat so the cost was $127 plus taxes and fees. DM me if interested!

gleek4114 said: "Does anyone else feel like this is primed for a transfer? Especially with Chicken and Biscuits closing early, it would be good timing for this to slip in after it closes in January for the Spring season.”

American Buffalo is already slated to start previews in CITS on March 22.