The following was originally published in the Winter 2015 edition of The Sondheim Review (Vol. XXII, No. 1), in an issue focused on the 25th anniversary of Assassins.

Any discussion and celebration of Assassins would be incomplete without examining Stephen Sondheim's vivid and at times ironic use of pastiche in this, his most compact theatre score. More than any of his other musicals, Sondheim's score is filled with pastiche and parody songs. These songs evoke specific time periods in this nonlinear show, helping ground each scene in its historical setting. Sondheim achieves this through direct quotation or metamorphosis of familiar melodies such as Sousa marches and "Hail to the Chief," or by crafting tunes similar to revival-tent hymns and 1970s AM radio hits. The awareness of well-known styles draws the audience in to the play's difficult subject matter, but concurrently distances the audience in part through the paradoxical usage of many of these styles.