Worthy of your love: Queerness and ghosting in Assassins and Company

How would the plot of Assassins shift if Squeaky Fromme was singing to Jodie Foster in the song ‘Unworthy of Your Love?’ Or if Bobbie from Company does not want to get married because her girlfriend, Rifkele, is waiting for her offstage? Marvin Carlson’s concept of ghosting explains how an audience’s previous experience with a person or object can carry a trace into subsequent roles, which explains how these readings were possible for a certain portion of those watching Erin Markey as Squeaky Fromme in the 2017 City Center Encores! production of Assassins and Katrina Lenk as Bobbie in the 2022 production of Company. Although there was nothing inherently queer about these two characters within their respective Sondheim productions, Markey’s performance history and Lenk’s well-known role as Manke in Paula Vogel’s Indecent ghosted prior performances of queerness onto Markey’s Squeaky Fromme and Lenk’s Bobbie. This reading provides a way for a queer viewer to find representations of queerness in Assassins and Company that live outside of the gay male experience, which ends up being particularly inclusive for bisexual and lesbian women audience members and performers. By following the author’s phenomenological experience of reading these two roles as queer women within their specific musicals, this article posits that spaces for queer women, non-binary people and trans people can and should be explored in the works of Stephen Sondheim.