Upon its release, Assassins was hailed as a production that had challenged typical societal norms of pro-nationalism and giving a voice to those who would have otherwise been forgotten (or condemned) for their infamy. The production can be deemed progressive in many ways, yet its portrayal of feminist ideals is certainly dated, namely in its portrayal of the two women assassins presented: Lynette Fromme and Sara Jane Moore. When watching the show, many societal stereotypes against women can be showcased through Fromme and Moore.
Fromme and Moore
From the beginning of the piece, The Proprietor welcomes Lynette Fromme and Sara Jane Moore as two characters who are not as apt to complete the task of shooting a president as the other men who had fallen before them. Upon Fromme's entrance, The Proprietor sings: "YO, BABY! LOOKING FOR A THRILL? THE FERRIS WHEEL IS THAT WAY. NO, BABY, THIS REQUIRES SKILL--". Similarly, on Moore's entrance, The Proprietor sings: "JEEZ, LADY--! GIVE THE GUY SOME ROOM! THE BUMPER CARS ARE THAT WAY... PLEASE, LADY-- DON'T FORGET THAT GUNS CAN GO BOOM...". Whereas these remarks from The Proprietor can simply be seen as sexism motivated by a character, rather than a playwright, it is equally important to consider the writers' perceptions of the two women assassins.
Sondheim and Weidman's portrayal of Lynette Fromme mark her as a character whose entire system of desires is marked by her devotion to a man. While this obsession is not entirely incorrect, Fromme's motivations for her assassination also consisted of her own personal debts with the world around her. In her trial, she maintained that she loved Charlie, but cited the main reason she committed the act as a desire for "clean air, healthy water, and respect for creatures and creation," attesting to her ideals that the country was being disrupted by the present structure of democracy. While much of this was culminated within Charlie Manson's cult structure, it is important to note that this is not the only reason which Fromme chose to attempt assassination upon Gerald Ford. Simply, Assassins' idealization of a woman to only live for the pleasure of a man is a misogynistic notion that has been sensationalized within Fromme's character.
While their vision of Lynette Fromme fell closer to reality, Sondheim and Weidman created Sara Jane Moore's character to be a pure example of how women were (and, to an extent, still are) perceived in society. While Moore in real life was described as having a bright upbringing, and succeeding in intelligence, her character in the show can be seen as disconnected and 'dumb' in nature. Moore's character is often seen not truly understanding how to use a gun-- an omen to her slight misaim in shooting Gerald Ford. Again, whereas this trait is not unheard of, the portrayal that Moore faces here is a harsh reflection of the misogyny that women, and women characters, face. Sondheim and Weidman go as far as to write in a sentiment about Moore shooting her own dog due to her lack of aim, which did not occur in real life. She appears in a scene with Charles Guiteau, where stage directions instruct: "LIGHTS UP on SARA JANE MOORE, taking target practice. SHE stands pigeon-toed, eyes closed, holding her gun with two hands, aiming it in the general direction of the Kentucky Fried Chicken bucket."
Moreover, much of Moore's character showcases a woman who is motivated with consumerism, the object, and the idea that men are bigger than herself. From Moore's first spoken line, she reveals her desire for feminine-centered products, gazing upon a lipstick and leaning into the sexualized name given to the cosmetic product. Later, in a scene between her and Fromme, Moore remarks on a man she knew in high school-- almost getting completely side-tracked to discuss her attraction towards him. In the same scene, out of awkwardness and seemingly resorting to the only thing she knows, Moore's character comments on Fromme's beaded necklace and her want for her own. These worldly sources of joy are often attributed to women.
Assassins places feminine characters in the forefront of unnecessary sexualization and other stereotype against them. While the show relies on overemphasis of various parts of these assassins' real life identities to give them a place in the show, these two have had their stories twisted and sensualized for the male gaze to better understand.
Emma Goldman
Though Assassins' portrayal of its women assassins is lackluster, the appearance of one side character is equally as interesting. Born in Lithuania and migrating to the states at the age of 16, Emma Goldman was hailed as a strong anarchist and feminist. In the late 1800s, Goldman traveled the country giving speeches, lectures, and advocacy for the rights of those underrepresented. American industrialist
Having worked in a garment factory in New York for much of her time starting in the United States, she had understood deeply the unequal pay and suppression of worker's rights present in our capitalist structure. Goldman's beliefs were centered around the idea that all humans were inherently good, but when faced with radical ideas, placed into echo spheres, and given a community for their thought, they could face inner tension (or, radicalization).
After having divorced an abusive husband in her early twenties, she had become enraged by the patriarchal ideals that paraded our society. This sparked her to want something more out of life, which made her turn to anarchism as a means of change. Apart from other anarchists of the time, Goldman held a specific focus towards women's rights. While other anarchists believed that everyone should be treated equal, regardless of identity markers, she had understood that not only equality, but equity, was the answer. Goldman argued that women required emancipation from the men who oppressed them.
Anyone Can Be Radicalized
Goldman, too, had been so enraged by the state of things that she, along with the help of her partner Alexander Berkman, created a plot to assassinate Henry Clay Frick. Frick was an American industrialist who had manipulated his labor force. The general manager of Homestead steel mill in the 1890s, Frick had been forced to reply to the declining prices of rolled-steel products. Thus, he had cut wages significantly, evicted laborers from their houses, and neglected the union. At his last resort, he brought in the Pinkertons, a violent group of hired thugs, who exercised a battle with workers who had been on strike, leading to the death of 10 individuals.
In 1892, the plan commenced. Berkman shot Frick in his office-- although he did not die-- and was soon convicted to 22 years in prison for attempted assassination. Goldman, however, had not had enough evidence against her to be convicted also. This act led her to be regarded as a violent and infamous radical, leading her to gain many enemies especially within the political and police systems.
Additional Resources
On the male gaze: https://www.newyorker.com/books/second-read/the-invention-of-the-male-gaze, https://www.verywellmind.com/what-is-the-male-gaze-5118422
On stereotype: https://www.plannedparenthood.org/learn/gender-identity/sex-gender-identity/what-are-gender-roles-and-stereotypes, https://genderequality.gov.au/working-for-women/foundation-gender-attitudes-and-stereotypes
On Goldman: https://wams.nyhistory.org/modernizing-america/activism-and-the-progressive-era/emma-goldman/, https://wams.nyhistory.org/modernizing-america/activism-and-the-progressive-era/emma-goldman/
On Frick: https://www.pbs.org/wgbh/americanexperience/features/goldman-henry-clay-frick-1849-1919/