I profess to be of a young age, and those who don't know me would probably consider my experience with musical theatre to be rather inextensive. I am, however, even at a young age, a Stephen Sondheim admirer. Yet even I, whose favorite musical is the ghastly and mind-numbing masterpiece "Sweeny Todd," was not entirely prepared for the unabashed "Assassins."

Assassins combines all the would be and have been presidential assassins of the United State's history and throws them all into a timeless world where Charles Guiteau (Garfield) can chat with Leon Czolgosz (McKinley) and Sam Byck (Nixon) at a bar while John Wilkes Booth (Lincoln) reads a copy of Variety magazine. It is more of a revue than anything, but the music (which you MUST own if you're going to buy the libretto) is so moving and so powerful it actually is able to draw sympathy for Lincoln's assassin. If the prospect of feeling pity or sympathy for Lee Harvey Oswald makes you angry, Assassins is not my recommendation.

Indeed, Sondheim and Weidman sucessfully made me feel sorry for Leon Czolgosz and Booth and Oswald and nearly all the characters in the musical. Some may think it unpatriotic; I think it presents the other side to woefully biased history lessons claiming the Assassins to be vengeful madmen searching for chaos. Assassins truly brings to light what's wrong with the American dream, and for any history buff, Sondheim fan, or just plain theater fan, Assassins is a MUST have.

Unfortunately, too few people in mainstream America have ever heard of 'Assassins' the darkly-comic musical theatre masterpiece by Stephen Soundheim and John Weidman. While it is sad, the public's apathy toward this ingeniously-written musical actually came in useful to me this past year. A participant in high school Speech, my partner and I were searching for the 'perfect' piece that would give us success, something achieved in past years, but not to the highest levels. Veterans of the Speech circuit, and this being my final year in the program, we were looking for something that would really stand out from the competition. Almost by accident, I came across a copy of 'Assassins' and soon saw its potential. Scene 16 (a seemingly-impossible exchange between Kennedy assassin Lee Harvey Oswald and Lincoln killer John Wilkes Booth) is one of the most creative scenes of any play I have ever seen, and after examination by both my partner and I, we knew we had a winner. In addition to its unusual setting (something judges love), it blended the right amount of humor, suspense, and irony to put all other speakers simply out of the race. Thanks to Soundheim and Weidman, Nick Cook and Brad Mariska (that's me!) took home first place trophies at a number of meets during the regular season and advanced through the sub-seciton, section, and state prelims, into the final round of the state speech tournament. While we didn't take home the title, we were crowned as the 5th best speech team in Minnesota, and all audience members there that day certainly agreed (despite the results) that 'Assassins' was the most unusual and interesting piece competing that day. And we couldn't be happier.

Being a Sonheim fan, I expected to like the music, and did. You need to get the CD even if you don't like the script. It stands on its own merits. My favorite: The Gun Song, a delightful little ballad about how easy it is to shoot someone. "All you have to do is crook your little finger." The script is equally compelling, though I imagine the subject matter may make it too controversial for many community theaters. (I hope not, as I intend to suggest it for next season in our little theater here.) The play does not promote assassination, nor does it present assassins in a good light. Instead, it shows these historical figures as what they are: madmen, with all the weaknesses of other humans, but somehow flawed in their logic. Consider Charles Guiteau, who assassinated President Garfield, in part to promote the sales of his book. Superficially, as good a justification as any, but, let's face it, crazy as a bedbug. The writing is superb, and the action varies from the absolutely hilarious scene between "Squeaky" Frome and Sarah Jane Moore, to the powerful confrontation between John Wilkes Booth and Lee Harvey Oswald. EXCELLENT, EXCELLENT, EXCELLENT!!!

Stephen Sondheim and John Weidman's musical is something that all countries around the world should read. Sometimes, though, the lyrics may seem a bit tooooo sophisticated for such a universal play. But, it is probably one of the best books for a musical you could find.

"Pacific Overtures" is the political euphemism used by Commodore Matthew Perry in 1853 when Japan was persuaded to open up trade relations because of the display of naval power put on by the United States. The clash of cultures as the "Floating Kingdom" was forced to end centuries of enforced isolation is the subject of this unique musical, which dramatizes Perry's expedition to Japan.

John Weidman's original idea, which first came to him in a Harvard lecture hall in 1966, was realized a decade later when director-producer Harold Prince decided to adapt various Japanese theatrical techniques and conventions, and Stephen Sondheim was brought in to write the music.

The cast of "Pacific Overtures" was entirely Asian or Asian-American, a casting commitment that makes "Pacific Overtures" a rare musical to see in performance, which is a shame because of not only its presentation of history but because of its imaginative use of Kabuki. Among the Kabuki traditions adapted to the show were the use of males to play the female roles, the Reciter who comments on the proceedings, stage hands completely clothed in black, and on-stage musicians. Act I ends with a Kabuki lion dance, which provides the image for the album cover.

While it would never be a very popular show, this musical is certainly a fascinating attempt that is of much interest to the Westernization of Japan as it is to devotees of the American stage. Ultimately, Prince has a bigger impact on the show than Sondheim, which takes some doing to be sure. That is why it this book might be an even better way of approaching this show than listening to the CD, although the best approach, of course, is to do both.

Incredible piece of avant garde musical theatre. Best when seen, but great to read and listen to the cd too! Seldom produced, it combines the techniques of Kabuki Theatre with Western Musical Theatre in a way that only Sondheim could conceive.