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There is scarcely a moment in the Classic Stage Companys understated production ofAssassinswhen you arent thinking about last year.
Quick, ask yourself: Do you believe that?
The assassins are wobbly funhouse-mirror reflections of real figures, who are themselves wobbly funhouse-mirror reflections of the country.
For much of the musical, little links the assassins besides their targets.
Sondheim plays dazzling games with pastiche throughout.
WhenAssassinsfirst appeared Off Broadway, the response was muddy.
Were the jokes too jokey?
The monstrous facts handled too cavalierly?
Doyles staging makes comedy particularly difficult, with the audience on three sides of a long catwalk stage.
It leaves even small scenes oddly directionless, as though theres no good seat in the tiny house.
So these sections seem a little lost, a little soft, a little undercooked.
The musical itself is in thrall to the charismatics in this rogues gallery.
The other actors, though, follow the Doyle anti-spectacle plan and underplay.
Doyle always does this: He strips his productions down tojust shyof a staged concert reading.
It worked forSweeney Todd;it worked forCarmen Jones.Here it has mixed results.
For instance, the musicians are dressed in red or white jumpsuits.
The main casualty of the Doyle method is the sound.
Is ithisfault his fall took the whole country down with him forever?
He certainly doesnt think so.
It did, though.
Of course, theres something closer at hand to think about.
America is so quick to believe!
America is so ready to pick up a gun!Step right up.
Assassinsis at Classic Stage Company through January 29.
