Here are some of the things audience members unfamiliar with American history and its dark corner containing Presidential assassins will learn as they watch the much-acclaimed Stephen Sondheim/John Weidman musical “Assassins,” a very fine production of which I saw over the weekend:

…Nobody knows why actor John Wilkes Booth shot Lincoln. It may have been “bad reviews.”

...Lee Harvey Oswald worked in the Dallas book depository, and and was originally going to shoot himself, not President Kennedy.

…Giuseppe Zangara was attempting to assassinate President Franklin Delano Roosevelt when he killed the Mayor of Chicago and wounded five bystanders in 1933, but didn’t really care which, because both of them “controlled the money.”

…Sarah Jane Moore was a quirky, whacky, Lucy Riccardo-like  housewife who just wanted to kill President Ford for no particular reason.

…Moore and Lynnette “Squeaky’ Fromme knew each other and jointly attacked Ford.

…President Garfield “succeeded Grant.”

…Presidential assassins are all cut from the same psychological cloth, desperate Americans living on the margins of a cold-hearted nation that ignores them, who decide to become important by killing a President of the United States.

None of the above is true, and that just scratches the surface of the elaborate, anti-America conceit that is “Assassins.”  It is conceived as a cynical carnival game underlying a time-warping portrait of some of the men and women, far from all, who have tried, successfully or not, to murder a President of the United States.

I have seen the show multiple times, and it has always been (mostly) well-produced, directed, and acted, although if you set out to drive someone like me crazy, having Booth shoot at Lincoln with a revolver and having Oswald fire just one shot at Kennedy are good ways to do it. The show is also infuriating in its deliberate defiance of history to execute what a couple of artists think is a cool concept and a strong political statement that amounts to an evening’s worth of disinformation. The idea about assassins being a callous society’s losers and outcasts just doesn’t work, and should have signaled that it doesn’t work from the start: Booth, the leader of the time-traveling murderers—they all show up in the book depository to persuade Oswald to kill JFK—disproves the thesis in the first 10 minutes. Booth was no outcast or loser. He was a celebrity. He was successful, famous, and relatively wealthy. He was healthy, relatively sane, and in good shape. Booth was a Confederate fanatic, and determined to do what he could to pull victory out of defeat for the South by killing Lincoln, but he was hardly in the same class as, for example, Charles Guiteau, a certifiable loon, or John Hinckley.  Leon Czolgosz , who shot McKinley, was no crazier than Booth. He was a political radical as well, an anarchist like Sacco and Vanzetti, and was convinced that the government had to be brought down in the interests of justice.

Oh, whatever. Details, details. Continue reading →