BROOKFIELD — Brookfield Theatre for the Arts has kicked off its 69th season of performances with an incredibly strong, gripping production of Assassins, which runs through March 7.

Assassins is a dark comedy with music and lyrics by Stephen Sondheim. The show takes audiences down unusual twists and turns throughout the history of the United States, exploring the lives of nine individuals who assassinated or attempted to assassinate the president of the United States. The stories are framed through a sinister carnival game that examines the dark side of the American Dream.

The show starts with a Proprietor (played by Emma Duffy) welcoming the assassins to the carnival, promising that they will get a “prize” for killing a president, whether that prize be relief, love, infamy, or some twisted feeling in between.

In a homage to classic, upbeat Broadway tunes, opening number “Everybody’s Got The Right” sets the stage for the wicked roller coaster ride that is Assassins. The stage perfectly reflects the fairground setting, with bright theater lights wrapping around the outer perimeter of the stage and a central carnival booth prop with crude text reading “shoot a Prez” and “win a prize.”

The set is intimate in its small space, but claustrophobic when capturing the very real, very dangerous nature of these assassins.

The carnival booth also unfolds into a regular apartment space later in the show, part of a haunting, yet compelling twist.

The eye for detail carries over into the costuming. The Proprietor looks like she walked straight out of a fairground, with a sharp blue jacket and white stars, glittering black pants, and a vintage carny hat.

Considering the other characters come from different eras, it’s clear a lot of care went into their costumes. The formal full-black suit, dress pants, and gloves reflect the prim and proper character of John Wilkes Booth (Steven Taliaferro), while the knitted scarf, cozy cardigan, and bright orange hat reflect the zany, frazzled woman that is Sara Jane Moore (Tanya Wills).

It’s the talented cast that especially makes the show come to life, however. Duffy as the Proprietor is equal parts charismatic and unsettling, playfully goading the other characters to commit violence right from the opening number.

Whenever someone tries to commit an assassination, she comes in holding a sign of the president in question with a chilling grin on her face. They keep this smile whether the person succeeds or fails to assassinate their target, all while practically throwing back their head in laughter. She does a great job hooking the audience into the show.

As Booth, Taliaferro also serves as the catalyst for the other assassins in the opening number. He carries himself with perfect calm and confident composure, pairing it with a pretty good southern accent.

Booth is typically in control, goading others to commit violence like the Proprietor. Taliaferro is charming and commanding, speaking very punctually. His moments when he gets to show more emotion and raise his voice, such as the musical numbers and monologues later in the show, are a real treat.

Sean Latasa as Sam Byck is an absolute highlight. He gets a lot of funny moments in his scenes throughout the show, with his character initially coming off as a somewhat endearing, music-loving loser. His cynical affableness so easily twists into a haunting, genuinely fear-inducing man.

He makes a well-timed, goofy joke only to raise his voice in such a way that his scenes are difficult to watch because he captures that anger so well.

Pedro Couy does a fantastic job as Leon Czolgosz. He worked hard to master his character’s Polish accent, and it shows in every scene he’s in. Czolgosz is a sincerely bitter person, and Couy reflects that with the sheer emotional intensity in which he delivers his lines. His monologue on working in the factory by the oven especially comes to mind.

Couy’s work is even more amazing after realizing he is still in high school. He is definitely one to keep an eye on for future productions.

Matt Austin also does a phenomenal job with the Italian accent for his character, Giuseppe Zangara. He matches Zangara’s fiery hot temper and elevates it to shine in every scene, especially with his number, “How I Saved Roosevelt.”

Austin also has really great facial expressions; his face easily contorts into a scowl when lambasting the government as much as it does wrench in agony from his character’s stomach pain.

The entire rest of the cast is equally as amazing. Jason Styka is great as the dramatic and delusional Charles Giuteau. Audiences can really tell Giuteau believes everything that comes out of his mouth, talking about how he’ll become the ambassador to France with a big smile on his face. It makes his part in “The Ballad Of Giuteau,” when he emotionally sings “I’m going to the Lordy,” hit the way it needs to.

Emma Burke-Covitz as Lynette “Squeaky” Fromme and Wills as the aforementioned Sara Jane Moore are an absolute riot whenever they take the stage. Each has a really strong sense of comedic timing, and both shine when they get to bounce off each other or one of their more straight-laced castmates.

Wills gets a lot of funny moments throughout the show, from her frantically pulling stuff out of her purse to trying (and failing) to deal with her bratty son. Burke-Covitz and Eric Lewin, who does a great job playing the introverted and awkward John Hinckley, have a great moment where they share the stage for the ballad “Unworthy Of Your Love.”

Doubling as the Balladeer and Lee Harvey Oswald, Izzy Porter rounds out the cast. She has a particular down-to-earth quality to her as the Balladeer, which plays well into her character questioning the assassins in several ballads throughout the show. These ballads give her plenty of space to show off her strong, resonant voice.

Her character comes off as a grounded everyman, which perfectly contrasts her shift into Lee Harvey Oswald later in the show.

None of the stories exist in isolation. It feels as though they converge and crash into each other, inspiring each other in the worst of ways thanks to the great chemistry the cast has with each other.

Meanwhile, the band nails every number and makes Sondheim’s music come to life on the Brookfield stage.

There were some slight audio balancing issues during opening weekend, such as with the ensemble. The ensemble cast sounds great, but in numbers such as the penultimate one of the show, “Something Just Broke,” some of their voices were slightly overpowered by the band.

That still does not take away from the raw emotions of the story and the performances, however.

Brookfield Theatre’s Assassins is a show more than worth a watch. It is a nonstop ride into the dark underbelly of the American Dream, and is sure to keep audiences engaged up until curtain call.

Those planning to take in a performance of Assassins should note the show includes depictions of guns and violence, along with hateful language, as part of its authentic storytelling. The production also features the use of fog and flashing lights.

Performances continue through March 7, on Friday and Saturday evenings at 8 pm and Sunday afternoons at 2. American Sign Language (ASL) interpreted shows are planned for February 22 and February 27. Reserved seating tickets are $35 for adults, $30 for seniors, and $25 for students. Visit brookfieldtheatre.org for reservations and additional information.

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Reporter Jenna Visca can be reached at jenna@thebee.com.