Happened to win the TodayTix lotto for this last night(really wasn't expecting to be able to see this since it's sold out) and WOW. I have never seen or heard Assassins so I had no idea what I was walking into besides the basic premise, but I had a fantastic time. I don't have any profound thoughts besides the fact that I had an amazing night, made better by the nature of winning a lotto!
For reference to anyone who is curious, our lotto seats were C111 and C112 and the view was excellent. Like everyone said, you're always going to be blocked at some point. The ushers stressed to everyone multiple times that if you leave you cannot reenter and that the show was an hour and 45 minutes.
Sutton Ross said: "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."
As for the 3 week extension-tickets sold out in minutes...question is - will it extend again?
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
As for the 3 week extension-tickets sold out in minutes...question is - will it extend again?
I think it absolutely will and usually when it's the last one they say "final extension". I don't know when the next show begins there, I cannot find it on their calendar so I think they have a good chunk of time to extend again.
I wish Jesse Green had reviewed this. While I have no idea if he would have liked it more, this reviewer spends a lot of time detailing how it didn't fulfill their expectations... and I wish they spent more time reviewing the production in from of them. Alas. Maybe I'll agree with them completely when I see it next month.
That Times review was really, really poorly written, and between that and the garbage heap that was the Times review of THE VISITOR, I fear for the future of theatre reviewing at the paper.
I'm not saying either production deserved positive reviews (In fact, I have not seen ASSASSINS yet), but they deserved to be reviewed coherently and elegantly. Not, "Ummmm...yeah, I just wasn't feelin' it" with some cliches thrown in and a cute tag.
I wish Jesse Green had reviewed this. While I have no idea if he would have liked it more, this reviewer spends a lot of time detailing how it didn't fulfill their expectations... and I wish they spent more time reviewing the production in from of them. Alas. Maybe I'll agree with them completely when I see it next month.
"
i haven't seen this or any other production of Assassins; maybe the show is trash and maybe this production "misses the mark." But what a poorly written, pedantic and just plain trashy review in the NYT. Makes me miss Brantley, or any high school "theater critic" YIKES
EDITED because i check to confirm that this is the same genius who criticized Alysha Umphress' weight a few years back, another ridiculously amateurish take that does a disservice to the paper of record.
AMNY: "It is an uneven production, marked by an oppressively downbeat mood in which the comedy is downplayed, puzzling directorial choices (ensemble members wearing prison-like jumpsuits, ritualistically pulling red ribbons out of a folded American flag), and performances that range dramatically in their effectiveness."
To be fair, they didn’t really do anything like that for the others. While the Broadway production tried to make all the actors look like the real life people, this just seems like they’re trying to get their respective styles across but not their physical features. Pasquale’s just a bit more noticeable since his role is the most physically famous, but I didn’t really think much about it when I saw the pictures.
The people concerned about this have seen Hamilton, right? I’ll admit I’ve never seen Assassins (I had tickets to see it June 2020 then the shutdown happened), but unless the book/score reference his mustache (and it very well may), I’m not sure why it matters. Personally, I’m really not that familiar with what Booth looked like.
Re: Booth’s mustache, it’s just odd to me since he’s obviously the most (in)famous and many audience members would have a general idea of what he looked like.
Actually, looks like it was semi-intentional to not have the actors alter their appearances to look more like their historical counterparts, which based on what I’ve read about this production so far seems like another Doyle-esque random, pointless decision. I mean, Lee-Harvey Oswald is a redhead, lol. Okay, whatever. Also, the Hamilton casting is an artistic choice with a new show. This is breaking with tradition of an already existing show, but with no clear artistic reason. Whatever. It’s just hair.
I saw Sondheim's ASSASSINS at Classic Stage Company yesterday. Thoughts:
1. Seeing a show LIVE is still the best thing in the world!
2. This cast is stellar! Sitting inches away from theater greats working their craft like Ethan Slater, Steven Pasquale, Will Swenson, Judy Kuhn, Brandon Uranowitz, etc... #theaterNerdJoy
3. Why do they cast extraordinary stage singers like Judy Kuhn (or Victoria Clark in the Encore's production) in a role that doesn't even have a solo? - what am I missing?
4. Tavi Gevinson is terrifying and hilarious as Squeaky Fromme.
5. Steven Pasquale is the greatest leading man striding the boards these days....
6. Will Swenson's performance as the deranged Charles Guiteau was my top favorite work by any male performer I've yet seen this year! Plus, I had random thought how great it would be to live in a home where Swenson and Audra McDonald are the parents??!
7. Ethan Slater is great throughout as the Balladeer (who knew he could play guitar?) but when he becomes Lee Harvey Oswald, he is breath-taking....
8. This score is not top drawer Sondheim, BUT its Sondheim so, it always bears rewards...
9. Seeing a musical presented in this intimate way, with almost NO amplification at all, was THRILLING! Pasquale's singing with no microphone intruding, spittle flying, adam's apple bobbing, hitting glorious notes with no visible effort, most of all conveying the wounded ego of John Wilkes Booth like nobody's business.
In addition to be extraordinary singers. Judy Kuhn and Victoria Clark are damn fine actors. I imagine they enjoy being part of a Sondheim work and part of a dynamic ensemble.
I wish Jesse Green had reviewed this. While I have no idea if he would have liked it more, this reviewer spends a lot of time detailing how it didn't fulfill their expectations... and I wish they spent more time reviewing the production in from of them. Alas. Maybe I'll agree with them completely when I see it next month.
"Probably because Green reviewed the 2017 production at Encores (which starred S. Pasquale).
For anyone who’s seen the production, does Brandon Uranowitz use the original keys or his part brought up, given he’s a tenor and Czolgosz is a bass-baritone. On that note, does he do the lower portion of Gun Song?
Vulture is positive: "The show isn’t a flawless revival, but it’s so perfectly suited to the moment that quibbles about anemic staging and singing can wait."