They're a disparate bunch of misfits, narcissists and ideologues who become a unified band through the device of Sondheim's music and Weidman's script. They interact, shifting between time periods, inspiring and cajoling each other, singing, disagreeing, normalising their obsessions, promoting their celebrity.
A clever opening sees musical director Nick Braae in the style of a jaunty circus performer, encouraging claps and cheers as he points out the band. This small act sets the mood as the characters are introduced at a fairground shooting gallery.
The cast are uniformly excellent in their lead and ensemble roles. The Proprietor (Benny Marama) strikes a suitably creepy, solicitous tone as he encourages them to relieve their problem by buying a shot. As they sing 'Everybody's Got The Right', the cast wield prop guns that emphasise the criminal intent as well as ramping up the satire. It's a fast-paced sequence, and while all the physical elements of the cast and costuming guide the audience, a bit of research into the characters beforehand enhanced this for me.
Alex Wilkinson as John Wilkes Booth is 'the pioneer', the central figure in the cult of the celebrity assassin. In Wilkinson's capable hands Booth is dignified, with a well-spoken drawl and a touch of gentility, even as moments of menace slither out between the seams. Booth takes on added significance as the show progresses, after all "he was the one who started it".
The story is anchored through the narration of the calm, all-knowing Balladeer (Alex Pelham-Waerea) who is vocally polished and smooth. Later, Pelham-Waerea shows his versatility as the somewhat desperate figure of Oswald, enticed into action by the others.
Mike Williams is marvellous as the delusional narcissist Charles Guiteau.
His posturing and physical leads are deft and comedic, accompanied by a simpering, wild-eyed expression. His voice is all glib patter and persuasion as he recites his own ever-changing narrative. Even as he ascends the gallows during 'The Ballad of Guiteau' he shifts in mood and intent, dragging out his last moments, playing to the crowd.
Helen Drysdale-Dunn was another standout as multi-married mother and would be President Ford assassin, Sara Jane Moore. Drysdale-Dunn is a bundle of likeable, effervescent energy, encased in slacks and a polo neck. Her comedic timing is excellent.
Sophie Nairn's performance as Charlie Manson devotee Lynette 'Squeaky' Fromme is accomplished and showcases her excellent voice and strong and focused characterisation. Both she and Drysdale-Dunn are establishing themselves as stars of the future.
Patrick Ward was instantly recognisable as the bespectacled, would-be Reagan assassin John Hinckley and his performance is mature in its quiet obsession. There's a nice foil in his scene opposite the more strident Fromme, as they each reveal their own delusions and challenge the other's grasp on reality. A fine duet 'Unworthy of Your Love' speaks to both objects of their desire.
Creed Fletcher plays immigrant Leon Czolgosz, burdened by injustice and the erosion of the value of work. His performance is sympathetic and nuanced and 'The Gun Song', sung with Wilkinson, Williams and Drysdale-Dunn is powerful.
Italian Giuseppe Zangara, permanently afflicted by pain and desperate for attention, is played by Memphis Ward who expresses his anger well, grimacing and clutching his stomach. Zangara's motivations for attempting the life of Roosevelt are less clear but the song 'How I Saved Roosevelt' shows how he was ultimately denied the exposure he sought.
Benny Marama captures the ramblings of Samuel Byck, would be assassin of Nixon, with the right mix of urgency, light and madness. The scenes where he records increasingly disjointed messages covering a litany of injustices, show impressive control of voice and pace.
Led by Braae, the band includes the vastly experienced Steven Smith along with Jonathan Hawthorn and Damon Taylder. They are a tight and accomplished group.
Director Kyle Chuen said his intention was to stir something in audiences, while still being entertaining. There is no doubt this bold and daring show achieves that.
This is theatre for grown-ups. There will be moments that will challenge you and some scenes that could be polarising, but the cast, the music and the deft direction carry it through with surprising laughs along the way.
This show kept me thinking; about celebrity, about madness, about influence and distortion, and about how far an individual will go to achieve their sense of justice.
