"Assassins" Show Looking for Performers

Vocal range: Baritone Charismatic, theatrical, and ideological. Assassinated Lincoln and serves as the dark spiritual center of the show — the one who recruits and inspires the others across time.

Assassin of Garfield Vocal range: Tenor / High baritone Delusional, manic, evangelical. A failed preacher and office-seeker who believes God ordained him to kill Garfield. "The Ballad of Guiteau" lets him dance gleefully to his own execution.

Assassin of McKinley Vocal range: Baritone Quiet, earnest, and radicalized. An immigrant factory worker who sees McKinley as a symbol of capitalist oppression. More sympathetic than the others — haunted rather than gleeful.

Attempted assassin of FDR Vocal range: Tenor / Lyric baritone Volatile, stomach-clutching, barely English-speaking. Motivated less by ideology than by persistent physical pain and bitter class resentment. Almost comically frustrated by his own failure.

Attempted assassin of Nixon | Vocal range: Baritone (spoken-heavy) A failed salesman in a Santa suit, recording cassette tapes to Leonard Bernstein. He's blubbering, furious, and pathetic — the show's most unfiltered portrait of alienation and humiliation.

Attempted assassin of Ford Vocal range: Mezzo-soprano / Belter A devoted Manson Family member, sweetly deranged and utterly sincere. She sees Manson — and her assassination attempt — as an act of love. Her scenes with Sara Jane Moore are darkly comedic.

Attempted assassin of Ford | Vocal range: Mezzo-soprano / Alto Neurotic, scattered, and desperate for belonging. A suburban housewife radicalized almost accidentally. She's more relatable than she should be — and that's the point.

Attempted assassin of Reagan Vocal range: Tenor Soft-spoken, lovesick, obsessed with Jodie Foster and Taxi Driver. His duet with Fromme — two romantics comparing celebrity crushes — is one of the most unsettling numbers in the score.

Narrator / Oswald | Vocal range: Tenor / High baritone A folksy, optimistic narrator who guides us through the show — until the final scene, where the role fuses with Oswald. The pivot is the show's central dramatic act. Requires both musical range and dramatic chops.

Carnival barker / framing device | Any Vocal range: Baritone / Bass-baritone Opens the show at the shooting gallery, handing out guns. A showman archetype who frames the whole piece as entertainment — and implicates the audience. Often doubled or given strong physical presence.

Anarchist agitator (historical figure) Vocal range: Mezzo-soprano / Spoken Appears primarily in Czolgosz's scenes — a passionate, idealistic presence who inadvertently lights the fuse. Often played with both magnetism and melancholy.

Booth's co-conspirator Vocal range: Tenor / Light baritone Young, naive, and utterly devoted to Booth. He follows more out of hero worship than ideology, making him one of the more tragic figures — a boy who didn't fully understand what he'd gotten into.

Vocal range: SATB An additional 5-6 ensemble members will fill in the cast.