The Assassins Gallery

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The Assassins Gallery - Random House Books

Robbins is a master--at the top of his game with this one. Help Centre. Track My Order. My Wishlist Sign In Join. Be the first to write a review. Sorry, the book that you are looking for is not available right now. Description Product Details Click on the cover image above to read some pages of this book!

The assassins gallery, David L. Robbins

The book moves along at a clipping pace, with the tension being double focused. Firstly the increasing pressure on Judith to get into a position where she can kill FDR, in a very closed circle, with the complication of FDR's failing health making him less accessible. On the other hand Lemmeck and Nabbit struggle to work out how to get a lead on their suspected assassin, the intended victim, the method - anything that will give them a hint where to go next.

Working the premise into a known historical situation, would normally turn me off a bit, but in this case it worked really really well. Possibly this is because the only playing with the reader's understanding of the truth of history is in the final event, the death of FDR. Everything in the lead up fits into the known society at the time so effortlessly that just for a few seconds, you do wonder Excellent website.

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I just bumped into it. Thanks for the great review of The Assassins Gallery.

Comment feed for this post. Though Mr. Weidman's book still veers a bit shakily between blackout-sketch glibness and oratorical punditry, this production has a rich cohesiveness that overrides such discrepancies. And while the assassins' motives range from revolutionary idealism to a dyspeptic stomach, this version emphasizes their shared belief in their potential magnificence as they gather in a funhouse shooting gallery outside of time.

As conceived by Mr. Mantello and his brilliant design team, their environment matches their aspirations in ways smaller productions could not. Robert Brill's basic set, a sprawling tower of wooden scaffolding that evokes the underbelly of the Cyclone rollercoaster at Coney Island, is a bleak, desolate construction that takes on beckoning, lurid life.

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Jules Fisher and Peggy Eisenhauer, the lighting designers, have created a painterly tour de force, with glaring walls of color and deep pockets of shadows. This look of tawdry splendor, of a gimcrack version of eternity, sets the ideal tone for the fractured, time-warping narratives that follow, presided over by a gold-toothed, spiel-chanting carnival Proprietor the excellent Marc Kudisch.

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The Proprietor lures the assassins with promises of glory to the discontented. But what follows is also overseen by Booth, who as the man who killed Lincoln is the prototype for the others, and a Balladeer Neil Patrick Harris.

Robbins, David L. The assassins gallery.

The Balladeer sings a folky, cheery, deflating counterpoint to the self-aggrandizing accounts of the assassins. Harris, best known as television's ''Doogie Howser,'' here suggests the older brother from an Eisenhower-era sitcom. Like his appearance, his pleasant voice exudes an anonymous, scrubbed wholesomeness, which winds up working beautifully for the Balladeer's climactic metamorphosis when he morphs into Lee Harvey Oswald. Mantello brings remarkable continuity to this seemingly fragmented show. As the various assassins return to the scenes of their crimes, the Proprietor and Booth often materialize by their sides, seeming to massage them into active existence.

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  • It is the show's thesis that assassination has become its own disturbing cultural tradition in this country, that each of the characters is made of a cloth first spun by Booth. Sondheim's astonishing score takes staples of American folk, pop and ceremonial music and turns them inside out.

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    • The Two Pragmatisms: From Peirce to Rorty.
    • The sly distortions of familiar musical tropes -- whether ''Hail to the Chief'' or a barbershop quartet -- approximate the skewed ways in which these characters hear everyday melodies. Listening, as sweet notes slide into dissonance, you may feel as if your own brain has slipped off the rails.

      And how splendidly the orchestra, conducted by Paul Gemignani with orchestrations by Michael Starobin , realizes this sensibility. The musicians are in loges on either side of the stage, and the sound becomes its own environment, at one with the darkness that enfolds the audience. Some songs assume entirely new dimensions here.