Today, people connect Sondheim's "Assassins" to January 6th. They see Sondheim's work as a kind of prophecy about white rage. That's correct--but the work is also just a series of great sentences.
Where's my prize?
They promised me a prize.
What about my prize?
I want my prize.
I deserve a fucking prize.
It's part of the gospel of Sondheim that syntax should match sentiment--form should match content. When the Count sings in "Night Music," he uses short declarations--because he is capable of thinking only in short declarations. That's also the case for the assassins. Syntax reproduces the feeling of a tantrum--with the repetition of "prize," you imagine someone picking and picking at a hangnail until the blood starts to spill off the finger.
I just heard on the news
Where the mailman won the lottery--
Goes to show--when you lose--
What you do is try again.
You can be what you choose...
From a mailman to a President.
There are prizes all around you...
If you're wise enough to see...
The delivery boy's on Wall Street...
And the usherette's a rock star...
The Balladeer has empathy for the assassins. He recreates the noise we all wade through--the "People Magazine" stories about usherettes becoming rock stars. Each metaphor is a simplistic, instantaneous transition from one world to another--from delivering pizza to running the country. The assassins imagine an "Alice in Wonderland" metamorphosis--all problems are immediately solved.
People are suggesting that Kristin Chenoweth's new musical is "not the story we need to hear." I think that's nonsense. It's never really the story that matters. It's the writer's point of view that matters. I suspect that Chenoweth's show lacks a clear point of view--a problem that "Assassins" (surely darker than "Versailles") does *not* have.
Sondheim ends his show with perverse Dr. Seussian ranting:
If you can't do what you want to...
Then you do the things you can.
You gotta try again, like they say...
You gotta keep on trying every day...
Until you get a prize...
To live without values--this is the issue that Sondheim is describing. "Assassins" should be a bigger part of the discussion around Chenoweth's new musical.
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