The outpouring of emotion in response to Kennedy and Lincoln's assassinations were assumed to have been comparable, but the same thing happened when Garfield was killed, the same thing happened when McKinley was killed. I think it's about the office.
"John Weidman" is an United States/American libretto/librettist. He is the son of Peggy Wright and librettist and novelist Jerome Weidman.
He has written the books for a wide variety of stage musicals, three in collaboration with Stephen Sondheim: Pacific Overtures, Assassins, and Road Show. In 1999 he co-created the Tony Award-winning musical Contact (musical)/Contact with choreographer/director Susan Stroman. He has been nominated for the Tony Award for Best Book for a Musical three times.
In the 1970s, Weidman wrote for National Lampoon (magazine)/National Lampoon. Since 1986, Weidman has been a writer for Sesame Street, for which he has won more than a dozen Emmy Awards for Outstanding Writing for a Children's Program.
From 1999 to 2009 he was president of the Dramatists Guild of America.
Weidman received a B.A. from Harvard University and a J.D. from Yale Law School.
More John Weidman on Wikipedia.It's 100 feet long and 35 feet wide and pretty popular. Last year was the first year we had it and we do see people using it. We put it on the east side of Colby Park (6900 School St.) and try to keep the snow off it. If it starts cracking, we'll put a little more water on it.
This is a land where anyone can grow up to be president, but you know what? We only have one president, and there are a lot of people who wanted to be president who didn't grow up to be president.
The story was kind of decorated with John Wilkes Booth and Charles Guiteau, and all the people who had attacked the president. And we just started talking about those people.
There's a character in Assassins who is so filled with rage that he wants to crash a plane into the White House, and that seemed just crazy before 9/11. It doesn't seem so crazy anymore.
What was really drawing me to the material was entirely unresolved feelings I still had from the age of 17. The Kennedy assassination was something that to me made no sense.
In 1990, '91, most Americans felt comfortable, a certain sense of complacency, I think they felt safe.
I have no sympathy for any of them. I think what Steve and I tried to do was to present them in ways that would invite the audience to see them not as freaks from another world, but to recognize things in them which we see in other people who are not crazed murderers.
We never gave them a song to express the unadulterated pain and grief which I think many of us feel when these kinds of things happened.
Copyright © 2024 Electric Goat Media. All Rights Reserved.