Assassin cats the sequel with some added ones cause why not

My brother drew some assassins

Intentionally drawn to be worse over time. His commentary included.

Booth

“He has weird hair”

Guiteau

“He’s kinda ugly”

Czolgosz

“Do you have a crush on him or something”

Also many creative mispronunciations.

Zangara

“He has a mustache ARE YOU BLIND?”

Mustache Zangara is a thing now… I guess.

Oswald

“He also has a mustache! Who is he?”

Mustache Lee too, I guess.

Byck

“Sam Bitch”

Fromme

“A GIRL? What’s she doing here?”

Moore

“Oh no! Another woman”

Hinckley

“Who is this man?”

Bonus: Abstract Czolgosz

“He’s beautiful!”

Yes he is.

“Oh, Merlin, tell me, does THE ROUGE PRINCESS get what she deserves?” She is NEUTRAL & CLOSED to finding out.

— she walks through the world as;

name → claudette tremblay née delacour pronouns → she/her identification → cis female year of birth → september 1954 - september 1955 face claim → vanessa kirby blood status → pure-blood sexual orientation → bisexual occupation → private investigator at a brief case in carkitt market future information → n/a

— she is best described as ;

As POISED as a ballerina on point, she is the DASHED FREEDOM of a pegasus, who longs for LIBERTY but who is doomed to fail with clipped wings. HEADSTRONG, while she dons champagne crystals and delicate heels, her lack of materialistic desires leaves her as RADIANT as the SUN chasing the night. Grounded in reality, while their WIT is captivating, they are as BEAUTIFUL as the gartered KNIFE at their thigh; silent in DISCIPLINED DEFIANCE.

— her story starts with ;

tw: death

Born amongst purist rhetoric with her three siblings, LYNETTE DELACOUR [sister], DOMINIQUE DELACOUR [brother] and AIMEE DELACOUR [sister], they lavished in the allure of the French aristocracy as idealistic as a fairytale; but for her it was a mere inconvenience. Tedious were the restrictions that came with being a family deemed royalty, which she had no mind of following. Abandoning etiquette lessons in favor of exploration with partner in crime GABRIEL DUMONT [best friend]; despite her mother’s efforts, her heart was boisterous with a lust of life that was difficult to quench. Hiding among muggles, Claude found herself encapsulated by them. Riveting conversations with a sense of normality filled the simplicity she craved that was lacking in their manor. After her uncle disgraced the family and ran off with his harlot; her father stepped up as the sole male heir. The line passed to a man who never wanted to be seen high, though his love for his family outweighed any of his desires. Out of any, Claudette was most like her father. The last thing she wished, was to disappoint her family like her uncle had. While she longed for normality; she knew it was merely a fantasy. Instead she bit her tongue, stood straighter and smiled, but that didn’t mean she wouldn’t throw in a quick witted remark to put even the most pompous of noble sorcerers in their place. 

With Beauxbatons, came escapism, freedom and life. Corralled by RAPHAEL FRANCOIS [close friend] and Gabriel, they dueled until sunset and acted as each other’s wingmen. While many of the girls spent their days gushing over romance, beauty potions and braided hair like her sister Lynette, Claude saw no interest; instead she sought liberty and her own voice. Bolstering the determination to stand up for others against the likes of ALEXANDRA ROSIER [rival] and her entourage, Claude made friends in unexpected places; particularly in Muggle-Born JACQUELINE LEJEUNE [best friend]. While her oldest sister sought to be friends with the ‘right people’, Claude made genuine friendships to last a lifetime. Possessing a politically inclined mind, summers brought time with her father at learning the intricacy of his work at the ministry. Leading to her quick decision to study to become an Auror much to her mother’s dismay. She excelled in her studies, although she was often in trouble for her quick wit and prejudiced demeanor; she was an excellent student. Acquiring a job as an Auror within the Ministère des Affaires Magiques de la France after graduation; she’d found a profession she loved and a witch in whom to hold her affection. 

EVANGELINE SELWYN [former partner/potential love interest], was someone that Claudette never expected. A summer whirlwind romance the pair quickly fell deeply for one another. Encapsulated in each other’s arms, the problems of the world seemed to evaporate at the simple brush of a hand. Despite having to hide their relationship from Claudette’s family, the pair were passionately connected. Summer turned to years. Having met at twenty two, after four years together it felt as though nothing could pull them apart. Unfortunately fate had other plans with Claudette’s mother orchestrating an arranged marriage to pure-blood ALEXANDER TREMBLAY [husband/potential love interest]. Outraged, having sacrificed her freedom for so many years, her heart was non-negotiable. Desiring to love freely, she refused. Unbeknownst to anyone, she was planning to propose to Evageline. Visiting home one last time to share news with her siblings, her plans of a quick escape were rifled. With her mother discovering her intentions, she trapped her in her room; adamant that she couldn’t stand idle and let her ruin the family for a ‘wishful fantasy’. Charmed locks, no wand and no means of escape. Despite efforts to contact Eva, it was too late. With word from Gabriel that she’d left back to England heartbroken thinking Claudette had changed her mind.

With the love of her life gone, Claudette caved. Accepting Xander’s hand, having spent little time with her ‘beloved’, a day that many dreamed of was one she was dreading. Holding him guilty for her unhappiness she became cold and aloof. Transferring across seas with rumors of war encapsulating London, she disguised the move as playing ‘happy fiance’. Knowing her heart was really set on protecting one particular witch no matter the cost. While she had prepared herself for chaos, it was unlike anything she’d experienced. With the murder of BOOKER BAGNOLD [person of interest] and the rise in creature attacks, The Ministry was scrabbling to hold onto control in a society struck with chaos. Investigations only led to empty leads and convenient evidence that the Ministry blindly agreed to to fit their own narrative. Political warfare on the wise, any claims against what those in power wished were dismissed. However their silence shattered with the solstice of summer 1983 tearing the community to shreds. Fighting against masked figures who claimed to be ‘Death Eaters’, the witch had been helping civilians to safety one moment before a blow to the head turned everything black. Awaking only to be found in handcuffs for the murder of AMELIA BONES [close friend/former romantic liaison].

Detained and awaiting trial for a crime she didn’t commit, with the invasion of her mind it was proved Claudette’s innocence and that the guilty was under the influence of Polyjuice potion. Despite The Ministry’s statement, the hate spiraled towards her was maddening. Returning from Italy, Alexander became her saving grace. Averting the tabloids eager for a statement from the ‘killer’, his valiant protection eased her. For the first time she saw him as a person and not a pawn in her parents' schemes. Hidden in the Tremblay house, the witch was confined for her own safety. Leaving only under the disguise of beauty potions at the cusp of night. With the world unstable, her constant became Xander. His support, especially after being fired for ‘appearance sake’, kept her steady. While proud, it was against her better judgment that she let herself fall. And just like he had her, when MASON TREMBLAY [rival/brother in law] was found guilty for Amelia’s murder it was Claude that held him strong. Xander believed in their union, promising that in time their love would grow. Hopeful, they married privately as a commitment to each other outside of their families. Despite reservations, she didn’t feel obligated to his hand like she’d once did. She’d chosen him. Not out of sacrifice to her heart, but because of it. 

Going out on her own to investigate cases piling desks high, while ANNABETH PEBWORTH [former colleaguer/friend] warned her against it with the danger rising, it isn’t in her nature to stay on the side lines. That was until PRUDENCE OWENS [friend/colleague] approached with a card and an offer of a new place of residence. A Brief Case was filled with ex-aurors and those thrown out by the system were a breath of fresh air. Their bite for the truth filled Claudette with pride as they helped those the ministry ignored. While her work has her reluctantly investigating PERSEPHONE WILKES’ [acquaintance] distrusting claims against GENEVIEVE AVERY-WILKES [person of interest] she can’t help but be more captivated by her own personal investigations. Gathering memories of civilians from the night of the solstice, Claudette is trying to identify suspected Death Eaters; and who framed her. Those eager to forget give theirs gladly, but with the rising turbulence honesty is something lacking. Attempting to gain the trust of socialites LUCRETIA FAWLEY [person of interest] and VERUCCA BUCKTHORN-SNYDE [person of interest], Claude hopes their memories could be the missing piece she needs. However with their alliances unknown, can she afford to put herself on the line if it leads to more false trails?

— she is a LEVEL 8 WITCH & readied for war ;

Welcome to my “who’s the sexiest: presidents assassins, and other people, edition”

I am not condoning murder. I am not condoning Ronald Reagan. I simply want to run a tournament. Y’all should know how this works.

LYNETTE WILKES (née DELACOUR) is THIRTY-FOUR YEARS OLD and a SOCALITE among WIZARDING HIGH SOCIETY at LONDON. She looks remarkably like SARAH GADON and considers herself NEUTRAL. She is currently OPEN.

→ OVERVIEW:

Sophisticated yet deceitful, Lynette Delacour is the tightly wound laces of a corset, the sharp edge of an icicle and a crystal chandelier shining in it’s beauty to mask the lost dancing souls beneath. The eldest daughter born to JULIETTE LA TREMOILLE - a difficult woman who’s vanity and notion of social standing consumed her every thought - and LOUIS DELACOUR; a kind man, who possessed a deep rooted sense of social justice; the pair were an unlikely match. While not a part of The Sacred Twenty-Eight, the Delacour’s held an elegant beauty that was envied amongst the french aristocracy. While Louis worked within the Ministère des Affaires Magiques de la France as a Defence Barrister, Juliette was a crowning jewel in french high society. Sadly from an outwardly perspective it was obvious Louis adored his wife more than she did him; loving him merely as much as she was able. With Louis traveling for work, Juliette ran their manor home. Ordering house elves to do her bidding as she thrust her children into the world of balls, banquets and the french wizarding aristocracy. Alongside her brother DOMINQUE - the sole male air -, Lynette was upheld to the highest standards. While her brother was raised to carry on the bloodline, Lynette was thrown into etiquette lessons which she excelled in. Juliette bragging of her daughter’s youth and beauty, was adamant that one day Lynette would easily secure a marriage contract with whomever she desired. Aspiring for her daughter to raise the family higher and marry into The Sacred Twenty-Eight no less.

Depicting power through possession and beauty, her mother found security in possessions. Frugality was unheard of in the Delacour house, with an rooted insistence on sharing the same ideology and grandeur with Lynette. While grasping onto an unrealistic idea of perfectionism, the love their mother possessed was frequently questioned in her quest of vanity; often rising to society’s ideals at the expense of her children’s happiness. Despite how hard they tried to please, their mother was left unsatisfied. With a narcissist as a ‘caregiver’, Lynette was raised in her mother’s image. Taught that perceptions were everything, the mere curl of a hair and the delicate french floral perfume adorning glittering skin could be the breaking factor in a match. As the eldest, Lynette carried the weight of the Delacour name on her shoulders. Eyes following her wherever she went, while at first she basked in the attention, the witch soon grew tired of the performative art of beauty; but knew it was her unfortunate burden to bear. Instead she learned how to turn it to her advantage. Playing the crowd with the gentle art of manipulation, she secured her desires and finery with faked innocence and a gentle toss of her blonde hair. Fated to a faked perfectly picturesque existence, Lynette grew more like her mother daily. Taught to accept nothing but pure perfection from herself, Lynette became her own worst critic. Upholding herself to unrealistic standards, with her mother’s looming disapproval she shamed herself into conformity.

The favourite daughter in her mother’s eye, while it came with her mother’s pernickety attitude and scrutiny, Lynette became her dearest confidant and the keeper of the family’s secrets. Merely twelve, she found her mother having an affair with her long lost lover. In a desperate plea to keep her secret, Juliette begged for Lynette’s discretion, knowing the leaked information would be scandalous and smeer the Delacour name. Reluctantly she accepted, not wanting her efforts to be in vain and to preserve the future fate of her siblings. Sitting complacent in her mother’s love affair, merely nine months later they welcomed AIMEE who unbeknownst to the rest of the family was the result of her mother’s claimed ‘moment of weakness’ and would never be a true Delacour by blood. While Lynette loved her family, the reservation and underlying dred gnawed at her with every glance at Aimee. Beauxbatons came at the perfect time. Fleeing the Delacour manor in a carriage pulled by abraxan winged horses, she found relief in leaving her mother’s secrecy behind and her newborn half sister. Challenging even the beauty of Veela’s, her charm and elegance captured many at the school leaving sorcerers fawning at her feet. Jealous witches deemed her ‘too good to be true’ as she spent her years excelling in her academics and flirting with boys from esteemed families alongside best friend ODETTE BEAUSOLEIL. While potions grew to be her forte, she became known around the school for her intellect as well as her beauty by those who sort to match her effortless grace. 

Donned as the example for her siblings, Lynette was scrutinised for not keeping them in line. Chastised for her younger sibling’s reckless behavior, CLAUDETTE’S disobedience and disdain for life in high society was a continuous strain on Lynette. Covering for Claude countless times, who was too distracted in her active rebellion against her mother’s wishes to fully grasp the consequences of her actions. Plucking leaves from Claude’s hair with displeasure and an often sturn icy exterior, she primmed her siblings to their mother’s liking knowing that if even a single hair was out of place Lynette would face the repercussions. Over time, a strain grew between the sisters. Lynette grew tired of playing fiddle to her mother’s whims, only for her actions to be undermined timelessly by Claudette. Having graduated and made a name for herself within high society, Lynette accompanied her close confidante SELENE SNYDE to an esteemed party unbeknownst of the company she’d soon acquire. One sorcerer that captured her attention was that of CASTOR WILKES; a beauty to behold their dark sensibility felt almost intoxicating to be around. Holding a sense of self entitlement, while she judged them for their candor and brash ways, they seemed elated in finding Lynette’s pressure points. Uttering inappropriate comments into her ear as they danced, they were challenging and pulled at Lynette’s tightly wound strings. A shared pointed look from across the room, they promised that the mere presence of them in her company could guarantee her the match of the decade; to none other than a member of The Sacred Twenty-Eight. 

Words like music to her ears, they forged a false union under the pretense that it would flock more potential marriage contracts to Lynette’s door step. Elated in the attention that she received, Lynette basked in her new found suitors; devouring the words of notable members such as OSIRIS NOTT and ASTRAOTH SNYDE; who bore her flowers and gems in hopes to win her hand. Frustratingly, despite those coming to pay her a kind word, Castor always found their way into her thoughts. Infuriated by Castor’s general lack of interest in unionship, Lynette appeased the interest of Astraoth and quickly became the gossip of Witch Weekly. Despite capturing the attention of a noteworthy member, Lynette’s heart belonged to Castor. Burning with desire for them, the pair played cat and mouse as they toyed with the other’s heart. Though in the end, they both found that despite everything they unaquiffically couldn’t scorn the other from their heart. With everything that came with being an ‘perfect’ pureblood, their love for one another was not one either wanted to sacrifice. Breaking off her relationship with Astraoth, Castor and Lynette were quickly married; unable to bear the thought of being apart a moment longer. Content in her new marriage, Lynette glowed with the knowledge she’d secured a true match. While not Twenty Eight, the name was renowned and well established for her mother to be appeased if not overjoyed for her eldest. Everything was seemingly perfect, until Claude shared the news of her planned elopement with none other than EVANGELINE SELWYN, whom she’d been secretly dating for years. 

Paranoid her sisters actions would once again ruin her pristine image and laced with concern Claude would befall the same fate as their late estranged uncle - who denounced the family name -; Lynette blackmailed MASON TREMBLAY to secure a marriage contract for her sister to ALEXANDER TREMBLAY. Presenting the knowledge and proposal to her mother, Juliette praised Lynette for her loyalty and for saving the Delacour name. Faking the idea as her own, Juliette scolded Claudette and broke apart the two lovers for good. While content in the knowledge she’d protected the Delacour name, Lynette's guilt grows daily as she sees her sister’s unhappiness and lost love; though claims it was for her own good. Residing in the Wilkes manor home in England, Lynette is a gem in London’s high society; though after three years of bliss she fears her marriage sparks are slowly fading. Evident in Castor’s growing jealousy upon seeing EVAN ROSIER’S infatuation with ANTONIN DOLOHOV, Lynette is a forced bystander as her partner slips further from her grasp. Distracting herself from her crumbling marriage and Castor’s loss of affection, Lynette has found comfort in LEONARD DU LAC. While out of character, destructive and questionable, it is the first time Lynette has grasped onto her own fate without the influence of others. Dwelling little on her fated unhappiness with her back pressed against a wall and lips trailing down her neck, it is a charmed distraction. Though with the untimely and sudden death of her father in law, VICTOR WILKES, Castor has become withdrawn and unreachable to her. With scandal gracing the Wilkes name in the form of GENEVIEVE AVERY-WILKES,  Lynette holds a sour taste for the woman who seemingly brought horror to the family. Comforting PERSEPHONE, Lynette is trying earnestly to gather her new families affairs in order; though fears some bonds may be beyond redemption.

→ ADDITIONAL INFORMATION:

Blood Status → Pure-Blood

Pronouns → She/Her

Identification → Cis Female

Sexuality  → Pansexual

Relationship Status → Married to Castor Wilkes

Previous Education →  Beauxbatons Academy of Magic

Family → Juliette Delacour (mother), Louis Delacour (father), Dominique Delacour (brother), Claudette Delacour (sister/adversary) Aimee Delacour (known half-sister), Ophelia Delacour (estranged cousin), Castor Wilkes (partner/potential love interest), Persephone Wilkes (sister in law), Genevieve Avery (step-mother-in-law)

Connections  → Odette Beausoleil (best friend), Ruby Goldstein (close friend), Vincent Luc Millefeuille (close friend), Mason Tremblay (close friend/adversary), Selene Synde (friend), Osiris Nott (friend), Bellatrix Black (friend), Leonard Du Lac (romantic liaison/potential love interest),  Astraoth Snyde (ex-boyfriend), Alexander Tremblay (future brother in law), Eris Muliber (adversary), Evangeline Selwyn (adversary)

Future Information → Aunt of Fleur and Gabrielle Delacour  

LYNETTE WILKES IS A LEVEL 5 WITCH.

if Stephen Sondheim’s Assassins got big at right time, you know someone who attempted, and possibly succeeded, in assassinating a US president would have been a tumblr sexyman, and I shudder to think which cast member it might have been.

Can there be an Assassins production where I play everyone and use one nerf gun as the gun prop

straight friend groups: *kyle* *blonde girl* *brunette girl* *chad* *the funny one* 

insane friend groups: *racist ex-actor* *immigrant with a belly ache* *working man born in the middle of michigan* *obsessed creep* *charles manson stan* *ridiculed fangirl* *the next ambassador to france* *screaming santa claus* *lee harvey oswald*

We finally talk about the Musical we feel best sums up a certain aspect of American violence, specifically the Alt Right/Mass shooter/Conspiracy Theory paranoid aspect to American politics, especially among white resentment.  When people believe in the American Dream but are unable to retrieve it, these socially maladjusted lonely people turn to violence in order to achieve the fame they believe they deserve.  “Americans Live of Quite Desperation” indeed

@bona-hilda this is the episode i was talking about 

Also rerecorded this a week before the 2016 election, and then put it off for awhile, so this is going to be comically out of date.  

Starkid Assassins Fancast

The Balladeer/Lee Harvey Oswald played by Curt Mega

The Proprietor played by Corey Dorris

John Wilkes Booth played by Dylan Saunders

Charles Guiteau played by Joey Richter

Leon Czolgosz played by Joe Walker

Giuseppe Zangara played by Lauren Lopez

Samuel Byck played by Jeff Blim

Lynette “Squeaky” Fromme played by Mariah Rose Faith 

Sara Jane Moore played by Jaime Lyn Beatty

John Hinckley Jr. played by Darren Criss

my thoughts on assassins at the classic stage company!! (or: a “review” of assassins by someone who just really, really loves assassins)

- first things first. this cast. so insanely perfectly cast i literally cannot get over it. everyone embodied their characters so well. it’s like these characters were written for them, and i fully believe this production is the best way to view assassins!! (also: this production is the best way to run it (masks, actors/musicians, the ending projection, the whole nine yards. it was something the musical was missing and made it that much better))

- some notable mentions (edit: this is really just bordering on the entire cast but they’re THAT GOOD!!!!!)

- ethan slater: WOW. just wow. his balladeer is one to remember and his transition into oswald is straight up unforgettable. he was so raw and powerful. there was pain in his movements as he took off the jumpsuit and handed it over to the balladeer. his hesitation and reluctance to do so. the way he looks down at it in his hands, the proprietor reaching for it. i was completely enamored the his performance. special mention for his complete enjoyment when watching the others!!!! you could make a show out of ethan slater’s love and admiration for his costars alone 

- brandon uranowitz: maybe i am biased because czolgosz is my favorite but he went above and beyond for this role. he was so perfectly angry and it was something you could sympathize with. the bottle scene Broke Me. his ability to portray emotions, especially those ugly, angry, self-loathing emotions we don’t like to feel, is on another level. and then you could practically feel every thought, every potential hesitation, in his mind as he waited in line. his tears when speaking to emma goldberg had me in tears man. there are no amount of good words to say just how amazing brandon uranowitz was as leon czolgosz. simply none. 

- tavi. gevinson. i found myself OBSESSED with her performance the entire time. she’s so convincing as a young girl in (delusional) love. everything about her was him and she sold it so well. her relationship with sarah jane moore was funny, i loved the way they worked off of each other and with each other despite their characters being complete opposites. not to mention her VOICE!!!!! i am absolutely in love w her portrayal of lynette fromme

- eddie cooper and bianca horn but especially at the end. eddie cooper was such an amazing proprietor and i loved everything about him, but what hit me was his performance at the end, after jfk dies. he’s not the proprietor anymore, he’s part of the audience. he is us, watching the president die. he brings the folded american flag down the stage, almost crying. i wasn’t sure if he did but it’s there in his face, his wobbling lip and pained eyes. i don’t think i can ever get that image out of my head. bianca horn at the end too. she cried and i cried and it was so beautiful and heartbreaking. she is a powerhouse and a force to be reckoned with, both vocally and acting-wise. she carries herself with such poise and grace. i couldn’t get enough of her performance, no matter who she was portraying.

- i don’t think i will ever get tired of steven pasquale as john wilkes booth!! he’s so perfect for this role and executed it so well, yet again. he was able to have fun with it but still understand the complexity of his character and his impact not only to the other assassins, but the audience as well. i will only accept productions of assassins with steven pasquale as booth from now on thank you. 

- alright i got carried away. back to the actual notes 

- something i really loved about the balladeer was how his guitar acted as protection. every time he comes to counter the assassins, he picks up his guitar. this is especially prevalent in when the assassins and the proprietor begin surrounding him (literally and figuratively). he lets his guitar fall but picks it right back up to frantically tell them that they’re wrong, that america can be a place where everyone succeeds. what seemed like the final push in this scene was the proprietor taking his guitar away. he does so with a smirk, while the balladeer reaches for it back. and then, we get lee harvey oswald. this scene was so well done and the guitar symbolism just.. chefs kiss. truly. 

- I Love The Actors/Musicians. Oh Man. it was so amazing to watch their incorporation into the cast as both musicians and ensemble members. also their ranges??? they all play multiple instruments throughout the show AND act AND sing. and their voicesssssssss!!!! they’re so talented and managed to capture my attention just as much as the assassins. 

- Mask. Choreography. i did not expect it !! but it works so well with the show and i never want to see a production without the masks tbh!! it was yet another reminder that this is now. we are living through what others will see as history, much like the events depicted in the show. now, it’s history. but it wasn’t then- it was real and now.

- i love the stage?? i’ve seen a few reviews that critique it for being too small and not allowing for much staging but i think the cast works so well with what they have and manage to use up the entire stage. the balladeer spends a good amount of time on the steps to the stage/the edge of the stage and the characters frequently run off into the audience so they utilize the ENTIRE space.  the cast was so good at making sure each section of the audience felt included (especially ethan!! i know i keep raving about his performance but i couldn’t stop thinking about how good he was at ensuring everyone in the audience was part of the show)

- i really loved how the balladeer was on stage for the majority, if not all, of the show. even when he’s not singing! he was just chilling at different corners of the stage or in the back. i found it so fun to be watching the show just to look over and see ethan slater enjoying it as much as i was

- The Projections. Hello?? Oh My God??? i’ve always loved how the show used the projector (i am a Big Fan of the jfk assassination scene in the bway revival when the zapruder film is projected onto oswald’s shirt) and this production took it to another level. each president is shown with their respective assassin when they’re all introduced, and then again when the assassins shoot them with a target overlaid onto their image. i do miss the t-shirt zapruder film but honestly? this felt just as powerful. instead of oswald becoming his actions, we get to see him watch it. react to it. absorb what he’s done. he stands in front of the projection in shock? misery? fear? pride? all of it. and it’s so amazing.

- projections 2.0 because it deserves its own bullet point: The Ending Projection. during everybody’s got the right (reprise), a picture of the jan 6 capitol riot is projected behind the assassins. as they sing about getting national attention by doing something no one thinks of, we see an image of rioters storming the capitol, waving trump 2020/4 flags. it’s such a shocking yet grounding parallel in the best and worst way. it’s (another) painful reminder that this isn’t history: this is now. these things aren’t to be forgotten with the rest of history because they continue to happen today.

- lastly a special note for guiteau and zangara because they were my moms favorite! she didn’t know the story before and genuinely believed zangara had a stomachache until it was talked about because wesley taylor is just That Good. guiteau was also one of my favorites because he was incredibly hilarious, the definition of unforgettable performance. there was a moment where he was at the end of the stage, right in front of me, looking down. i can’t remember the exact scene right now but as he was talking about his gun, his hand (holding the gun) twitched and he quite literally instilled the fear of god into me because i really thought he was going to point the gun straight at me. it was terrifying and thrilling and amazing all at once

- all in all: i would do anything to see this show again. id pay any amount for a recorded version honestly. the casts voices work so beautifully well together it’s a crime they don’t all work together for everything and anything else. they all bounce off of each other like no other!!! (especially ethan slater and stephen pasquale, those booth and balladeer scenes were Fantastic)

Are the assassins naughty or nice?

WHAT DID BALLADEER DO?

accurate. Wilkes should be wet and trembling at this threat

What did Charlie do?

Good job Leon

He really is trying

owo what?

why Sam? Why?

even cultists get presents

WHAT THE HECK MOORE?

he’s watching Taxi Driver

Starkid Assassins

Grab your apple and take a bite, for it’s the Starkid dreamcast for Stephen Sondheim’s Assassins! One of my favorite musicals of all time, and with all the events surrounding it (the cast reunion is a great watch), I figured now was the time to take this shot.

1. Joey Richter as The Balladeer/Lee Harvey Oswald 2. Dylan Saunders as John Wilkes Booth 3. Jeff Blim as Charles Guiteau 4. Robert Manion as Leon Czolgosz 5. Brian Rosenthal as Giuseppe Zangara 6. Mariah Rose Faith as Lynette "Squeaky" Fromme 7. Rachael Soglin as Sara Jane Moore 8. Curt Mega as John Hinckley Jr. 9. Nick Strauss as Samuel Byck 10. Corey Dorris as The Proprietor 11. Jaime Lyn Beatty as Emma Goldman/Ensemble/Sara Jane Moore (u/s) 12. Nick Lang as David Herold/Ensemble/Giuseppe Zangara (u/s) 13. Lauren Lopez as A Housewife/Ensemble/Lynette "Squeaky" Fromme (u/s) 14. Kendall Nicole Yakshe as Billy/Ensemble 15. Jim Povolo as President James Garfield/Ensemble/Leon Czolgosz (u/s)/The Proprietor (u/s) 16. AJ Holmes as James Blaine/President Gerald Ford/Ensemble/John Wilkes Booth (u/s)/Charles Guiteau (u/s) 17. Tyler Brunsman as Swing/The Balladeer (u/s)/Lee Harvey Oswald (u/s) 18. Alex Paul as Swing 19. Brian Holden as Swing/John Hinckley Jr. (u/s)/Samuel Byck (u/s)

Make sure to leave any show suggestions or any questions on my casting choices so I can explain them.

he and his sister entered a reality TV show called The Great Race

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Will there be anymore members of the Delacour family released?

Hey there anon! Yes there will be, so I’ve got plans for: Lynette, Dominique, Aimee, Ophelia, Apolline and her sisters currently. Aimee is saved for something special behind the scenes and I can imagine Dominique and Apolline coming just before or after that. But lucky for you Lynette is actually coming out this batch, she’s down as Lynette Wilkes as she’s married but is the oldest Delacour sibling. Ophelia is planned to come out in a batch or two as well so definitely watch this space for more lovely Delacour drama - Hannah x 

Quick reviews of all versions of Assassins I’ve seen so far

2004, Broadway

I consider this the ‘true’ version, to be honest, as I think pretty much all of the 1990s versions (I’ve seen so far) pale in comparison. I don’t know if there’s much I can say about this version that hasn’t already been said. Michael Cerveris is also the best John Wilkes Booth, imo. It feels like he was putting the character into every line.

1990, Off-Broadway

To be honest, underwhelming. I’m not surprised the musical wasn’t well-received at first. However, it is the first version, so I can’t really give them much more criticism for it. I like Guiteau (Jonathan Hadary), Lynette (Annie Golden), and Sara Jane Moore (Debra Monk) in this one, though. The way the latter pair just fall into complete hysterical fits of laughter worked really well.

1993, Library Theatre

Really don’t care for John Wilkes Booth (who I’m not sure of his name)...? To be honest this is probably my least favourite? I’d prefer 1990 over this one despite the 1990 video being of awful quality. Guiteau (Peter Benson) is great in this one too, though, imo. I think Guiteau’s just one of the most interesting and ‘fun’ characters that there’s always something I love about every Guiteau, tbh. There’s one small detail in this one I really like, actually, that I didn’t see any other version yet - after Zangara (Ray Mangion) sings “I go down to Miami, kill Roosevelt!”, the bystanders all laugh (and honestly these bystanders were really good, I loved how they really communicated the whole vibe of how much to them this is just a chance at getting publicity, posing for the camera whenever they’re not the ones speaking, etc), which gives his next line “No laugh!” more congruous than certain versions where Zangara will just say that line so quickly that no one’s had a chance to really absorb it enough to react at all.

2019, Nottingham Playhouse

I LOVE this one. The balladeer, Lillie Flynn, did an amazing job. The Proprietor (Joey Hickman) and John Wilkes Booth (Alex Mugnaioni) have a really good synergy which imo creates some very good implications about JWB’s motivations and that he isn’t just being controlled by the Proprietor, but rather that they’re in cahoots with one another throughout. I also loved the band being on stage and even some of the actors playing the instruments as well (which is probably more of an issue with not having enough people, but they did it pretty smoothly). The choreography in Ballad of Czolgosz (Peter Dukes) is really great in this one too! I love how the Balladeer jumps in and out of the line too, and that Czolgosz’s handkerchief was an American flag. Sam Byck’s (Steve Simmonds) solo sequences are really good in this one too, he comes really close to if not equal to Mario Cantone’s energy in the 2004 version. Guiteau (Eddie Elliot) is absolutely AMAZING in this one. He really goes above and beyond to capture the character’s energy, dancing around the stage during Gun Song, while his face goes deadly serious as he sings ‘that I... am not a man to overlook’. I’m a little sad they didn’t keep the Balladeer/Lee Harvey Oswald casting, but oh well. This is my #2 favourite after 2004 so far. 

I’m hoping to get my hands on the 2012 Reunion video soon, so I’ll probably reblog this with some reviews when I’ve seen some more versions.