The Relationship Between History and Mythology in Sondheim and Weidman’s 'Assassins'

This article analyses Sondheim and Weidman’s Assassins to explore the way in which historical events are transformed into mythology. Following Barthes’ (1972) Mythologies, I propose that Assassins demonstrates how mythology simplifies history to serve a dominant narrative. Assassins creates a dialogue between contrasting historical narratives through the Balladeer, who embodies a simplified mythology, providing ironic contrast to Sondheim’s complex characterisation of the assassins. The characterisation of Guiteau provides an example to examine Sondheim’s character in comparison with historical and fictional accounts, in order to appreciate how mythology alters the perception of this figure. The scene with Lee Harvey Oswald invites discussion of cultural mythologies defining American national identity: the American Dream, independent freedoms and gun culture. These mythologies arise from historical mythology, but also through commodity fetishism and conspiracy theories. Assassins restores the complexity of characters who are otherwise reduced by mythology to consider how cultural mythology leads to the formation of these assassins, and to challenge the biased narrative of American historical mythology. By comparing Assassins to the historical accounts and folk songs it references, we can better understand the role of mythology in Assassins, illuminating the process by which historical mythology is produced, and indeed produces the fictionalised assassins.