When I heard that Oakland Theater Project was going to present Stephen Sondheim’s “Assassins” in their garage theater as a solo performance, I was skeptical. When I heard the solo performer would be Adam KuveNiemann, I thought, “Who is he?” When I looked up his, frankly, slim resume, I thought, “he must be extraordinary,” but I also thought, “Oh God, he’s headed for a fall.” I even considered staying away from the production, for fear of having to pan something so absurdly ambitious, but curiosity got the better of me.
Most important: It turns out KuveNiemann was NOT headed for a fall because, evidently, the man can fly.
After decades of experience, and reviewing close to a thousand plays, I have never given up hope that one day I would be able to use the most cliché, cringe phrase possible for a reviewer to shout. That day has come and here I go, with enthusiasm: A STAR IS BORN!
Adam KuveNiemann’s virtuoso performance as fourteen characters is astonishing. But he doesn’t do it alone. First, there’s the concept. Other productions I have seen have presented the many assassins as a sort of carnival of horrors, conducted by a frightening ringmaster who is probably a kissing cousin of the MC in “Cabaret.” There is no carnival here. Instead, we find ourselves in a basement with a young man clearly on the very edge of society. A Unabomber type, locked up in a cage-like apartment, scared, mad, delusional. He stumbles upon a copy of the book to “Assassins” and begins to read. He is clearly inspired. He is discovering his destiny. He hungrily tears through song after song, observing the personas of his heroes, preparing himself to act. It is uncannily real. If there is a would-be presidential assassin living in our country in some godforsaken bunker on some godforsaken street (and God help us, I’m sure there is), then this is what he (or she or they) is like. At least, that is what I had to believe while watching KuveNiemann go through his paces.
To make this work, KuveNiemann has been provided with a fascinating set of multiple levels and contrasts, and enough electronic devices to create a myriad of unexpected projections, echoes, and photographs, all created live and uncut as we watch. We see the man’s mind broken up into shards of consciousness—confused, at war with itself, dissipated and passionate. The performance, good as it is, cannot be separated from the technological wonderment that is here achieved. Call outs to each designer on this team: set (Sam Fehr), props (Heidi Button), costumes (Bethany Flores Deal), lighting (Ashley Munday), projections (Sarah Phykett).
Director Weston Scott finds all the necessary contrast, nuance, and excitement to make this work. Music Director Diana Lee handles her task with grace and intelligence.
Not only do I imagine that Sondheim would approve of this production and interpretation, it is easy to imagine him slapping his forehead and exclaiming, “Why didn’t I think of this?” Or maybe not.
This company has thought of it, this company has run with it, and this company has won the race.
It’s unforgettable.
“Assassins” continues at Oakland Theater Project through April 12. For further information, click here.
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Rating: ***** (For an explanation of TheatreStorm’s rating system, click here.)
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“Assassins.” Music & Lyrics by Stephen Sondheim. Book by John Weidman. Directon: Weston Scott. Set Designer: Sam Fehr. Props Designjer: Heidi Button. Costume Designer: Bethany Flores Deal. Lighting Designer: Ashley Munday. Sound Designer: Lane Sanders. Projection Designer: Sarah Phykitt. Music Director: Diana Lee. Technical Director: Ashley Munday.
Cast
Adam Kuveniemann: Leon Czolgosz, John Hinckley, Charles Guiteau, Giuseppe Zangara, Samuel Byck, Lynette (“Squeaky”) Fromme, Sara Jane Moore, John Wilkes Booth, The Balladeer, Emma Goldman, Lee Harvey Oswald, The Proprietor, Ensemble.
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