Assassins

I would love to see this show again in a different venue. Though visually pleasing (if you sat in the front two rows), consequently the quality of sound suffered greatly in that a lot of dialogue was missed and personally I only partially understood what was happening.

The performances were amazing all around, the vocals tight and choreography simple for such a small stage but effective. And certainly the message of this show hits different today.

It’s clear there’s a ton of talent on stage, and the actors really gave it their all. From what I could hear, they were doing a great job—especially the two women, who were standouts for me. That said, the space itself made it nearly impossible to hear everything clearly, which was a real shame because you know could tell this would have been a professional quality production in any other setting.

Aside from musical hits like Into the Woods and Sweeney Todd, it is a rare occasion to catch one of Sondheim’s lesser appreciated works these days. Assassins is one of them: an American satire/semi-revue that is imagined as a sinister purgatory where historical figures (assassins and wannabes) explore their place in history and muse on their ideals. It is a timely programming choice to make in the dawning of a new fascist age south of the border, and there is much philosophy to chew on, parallels to draw and a lot of dark humour to sink into as an audience.

For a show that is so musically challenging and packed with nuance, I felt as though the venue was seriously working against the fine work of these performers. The venue at Artshub Ortona has vaulted ceilings and hard brick walls that aren’t ideal for a musical with a live orchestra or actors who are amplified by a sound system. This reviewer has an audio processing disorder, so I perhaps caught 25% of what the performers were saying. The reverb was off the charts, and the addition of some soundproofing could’ve helped mitigate that.

The lighting situation was also incredibly distracting for myself and those around me. For one, there is a large blackout curtain attempting to block out a wall of floor-to-ceiling windows. Since there is an emergency exit on that wall that can’t be blocked, there was enough light spilling in that there were effectively no blackouts to cover scene changes. Aside from the natural light outside, there was also a rogue sensor in the building that thrice set off lobby lights that shone brightly into the auditorium. All of us sitting on the left side of the house found it incredibly distracting. Front of House had no control over it.

This ensemble is full of talent, and I wish I’d been able to follow and focus on their non-linear storytelling. It is a shame that I can’t personally recommend it, for the team clearly invested a lot of time and labour into this mammoth undertaking.

'"ll you have to do is move your little finger and you can change the world,” sings the disaffected actor John Wilkes Booth in Assassins. Sondheim's weird and macabre (and awfully damn timely) 1990 masterwork has attracted a new generation of musical theatre talent...." Check out the full 12thnight review!.

I absolutely loved this performance of Assassins.

The only reason I'm not giving it 5 stars is that sometimes the sound was off - the band was louder than the performers at times so it was difficult to hear lyrics or a couple of times it sounded like perhaps an actors mic was forgotten to be turned on by tech. This is the ONLY reason I'm not giving it a full 5 stars.

But what really seals this show for me is how committed to their roles the actors are. There are no half-assed performance in this production, let me tell you. This production could easily be transported to the stage at the Citadel, it's that polished. Everyone from their eyebrows to the steps their feet take are IN the groove. That makes a production so much more rich an experience as an audience member because it's not watching someone trying to remember their lines - they know them. It's not watching someone trying to recover from being in the wrong spot - they know their marks. I watched thinking "God, they must of rehearsed this for months".

You also sometimes find with musicals varying skill levels. Man...not here. Everyone was in the pocket which, if you are a singer and you know Sondheim....that's not a simple feat. This crew did a phenomenal job of hitting the mark.

If you don't like mainstream musicals - like, if you get bored in something like Hairspray or Lion King - don't go. Sondheim can be an acquired taste because his melodic lines are intricate and his storytelling isn't always linear. But if you are a die hard musicals fan or shows like Into the Woods, Sweeny Todd, or Sundays in the Park with George are your cup of tea, you'll love it.

Please note there are a lot of guns. And a lot of gun shots. That shouldn't be surprising to anyone given the shows subject matter, but if that's triggering for you in anyway - steer clear.

I'll also say as a performing space, the building itself is super cool. Exposed bricks, high windows - it's a very cool vibe inside.

Brilliant. I’ve never seen anything better at the Fringe. The Weidman book and Sondheim lyrics and score are beautifully served by the ten actor/singer/movers in this production. Director Sarah Dowling, Musical Director Mackenzie Tennessen, Choreographer Samantha Kesta, Stage Manager Kandice Laurie—twelve hours later, I’m still applauding. The show has a potentially disturbing premise which in the hands of lesser talents would come out as nasty. But the basic theme, that even assassins have rights to dream, presents as utterly convincing the way these wonderful artists have staged it. Five stars, more if possible.

At its heart, Assassins dazzles with pacing and the talent of its cast—but the venue? A mixed bag. The Ortona Armouries in Rossdale Flats are clearly a bold new Fringe location—spacious, rugged, full of character—but pairing a full cast, a small band, and a packed crowd inside that brick-walled shell results in a soundscape that’s, well, a bit of a mumble-fest. The mix feels cacophonous and overwhelming, and the lyrical clarity suffers.

That said, when the show moves into more intimate set pieces, the audio issues recede. It’s then that the strength of the performances—and the emotional punch of the music—comes through. The troubadour throughout is a standout, delivering a performance that lingers long after the music fades.

This production is undeniably ambitious, and the cast delivers with polish and presence. Yes, the venue’s acoustics occasionally muddy the broadsides of voices and music—but it’s easy to see how, with a clearer audio setting, this show could truly soar.

So here’s the deal: you might not get a seat right now—it’s sold out—but if a second run or holdover becomes an option, make it a priority. Because beneath that sonic chaos, this Assassins has heart, ambition—and enough talent to demand a second listen.

The best thing about this show was the ensemble. Every single cast member was at the top of their game. Aran Wilson-McAnally wowed the audience with his perfect vocals, while cast members Michael Vetsch, Alyson Horne, and Nico Maionara gave some of my favourite acting performances this year!

BANG!

Uniform Theatre took aim and hit their target with this adaption of Sondheim’s Tony award-winning musical.

Between the live music accompaniment, costumes, effects, and the gripping performances this one was sure to be a success! Each killer’s, or would-be killer’s, portrayal was nuanced with frustration and anger, and yet just enough dark humour to please any audience member.

Musical numbers and choreography were on point and these actors showcased their skills magnificently! Worthy of an Edmon-Tony award!

While this one is sold-out, keep an eye on the box office as sometimes seats are released close to showtime. You might be able to take aim on attending yourself. You WON’T be disappointed if you do!

This Murder Musical killed more people from amazement than assassinations. Each actor on stage perfectly resembled their Assassins with craze and a dream in their eyes.

There was so much depth and emotion in this production. From the performers themselves, to the live band, and the dramatic lights and gun shots, everything added feelings to moments. The harmonies were never ending on stage, getting you lost in time during the lives of these assassins through their voices.

The choreography of this show was comparable to a professional performance; intricate and detailed. This production is by far the best show I have seen at the 2025 Fringe yet.

If you are looking for a show stopping performance that shocks you into amazement this is the perfect show for you.

This one is sure to sell out (spoiler: it did)

Last year, Uniform Theatre put on an excellent production of High School Musical. This year, they brought that same energy into a Sondheim musical about assassins and would-be assassins of United States Presidents.

Most everything about the show was great, I started to list specific performances before realizing I was just listing the cast.

One major downside was the venue. Artshub Ortona, while absolutely gorgeous is not an ideal venue for a musical. Tall, uncovered brick walls and concrete floors wreak havoc.

My partner, who is not well-versed on American politics or Assassins didn't really enjoy the show much, so perhaps a quick brush up on Wikipedia would be ideal if this is not your forté.

Well, I guess in theory.

This review doesn't matter. You can't see the show.

It's sold out.

I saw it and you didn't. Neener neener boo boo.

Uniform Theatre, as always, has produced a polished and well-performed take on Assassins. Their talented crew of actors make Sondheim's tricky music sparkle (and it is GOOD music). The "Gun Song" was a stand-out number. Every performance is excellent, so much so that it is difficult to choose who to highlight (I will, though). I've seen Michael Vetsch, Aran Wilson-McNally, and Nico Maiorana in many other shows; Assassins was all three at their very best. Alyson Horne as Sara Jane Moore also deserves her flowers -- her voice is fabulous and her comic timing is stellar.

If you're one of the lucky few who has tickets, I'd recommend sitting house left (away from the band) for the best experience.

If you're not one of the lucky few who has tickets... sorry! You're missing out.

An incredible musical with fantastic performances from the whole cast, amazing music, and a very gripping story line. I'm not convinced it needed to be a full 90 minutes, but it earned that run time more than any other 90 minute shows I've seen in a while.

Gunslinger Limbo Takes Aim North of the River

Review of Assassins from the Edmonton Scene Online Magazine