This is one of the less frequently revived Sondheim shows, but I’ve been lucky enough to see it four times since its UK premiere at the Donmar in 1992, and it always repays a fresh look, as it does again here.
Designer Simon Kenny has turned the Watermill into a distressed red striped barn, which creates the perfect intimate space for the nine successful and failed assassins to tell their stories and reveal their motivation. From Lincoln’s assassin, John Wilkes Booth, the father of them all, to more recent attempts on the lives of Regan, Nixon and Ford, some are deranged, some motivated by perceived grievances. It can sometimes seem like a series of individual stories, but in Bill Buckhurst’s production, connections are emphasised and common psychological themes revealed, and the handling of the final assassin’s story brings them together superbly.
The clever references to contemporary gun crime are chilling, with a vending machine and a surprise late arrival. The transformation to, and pivotal scene in, Dallas is deftly handled, with Alex Mugnaioni showing great presence as Booth. The balladeer is played by a woman for the first time, and Lillie Flynn sang the role beautifully. The staging of Garfield’s assassin Charles Guiteau’s hanging was brilliant, with Eddie Elliott making a great job of I Am Going To The Lordy. Steve Simmonds’ meltdowns’ as Nixon’s would be assassin Samuel Byck were terrific. The whole ensemble acts, sings and plays all of the the instruments brilliantly.
It’s only five years since I last saw it, but it resonated differently again, and it was great to see this small scale production in one of my favourite theatres. Too late for Newbury, but it’s heading to Nottingham, you lucky East Midlands peeps.
Gareth's Culture and Travel Blog 
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