Sunday in the Park with George Sunday patinkin peters a.JPG Original Broadway cast recording Music Stephen Sondheim Lyrics Stephen Sondheim Book James Lapine Basis Georges Seurats painting A Sunday Afternoon on the Island of La Grande Jatte Productions 1984 Broadway 1986 U.S. television 1990 West End 1994 Broadway concert 2006 West End revival 2008 Broadway revival Awards 1985 Pulitzer Prize for Drama 1985 Drama Desk Outstanding Musical 1985 Drama Desk Outstanding Book 1985 Drama Desk Outstanding Lyrics 1991 Laurence Olivier Award for Best New Musical 2007 Olivier Outstanding Musical Sunday in the Park with George is a musical with music and lyrics by Stephen Sondheim and book by James Lapine. The musical was inspired by the painting A Sunday Afternoon on the Island of La Grande Jatte by Georges Seurat. A complex work revolving around a fictionalized Seurat immersed in single-minded concentration while painting his masterpiece and the people in that picture, the Broadway production opened to mixed reviews in 1984. The musical won the 1985 Pulitzer Prize for Drama, two Tony Awards for design (and a nomination for Best Musical), numerous Drama Desk Awards, the 1991 Olivier Award for Best Musical and the 2007 Olivier Award for Outstanding Musical Production. It has enjoyed several major revivals, including the 2005-06 UK production first presented at the Menier Chocolate Factory and its subsequent 2008 Broadway transfer. Contents [hide] 1 Synopsis 2 History 3 Productions 3.1 Original off-Broadway production 3.2 Original Broadway production 3.3 Original London production 3.4 2005 London revival 3.5 2008 Broadway revival 3.6 Other productions 4 Musical numbers 5 Characters 6 Casts of major productions 7 Television and video 8 Cast recordings 9 Awards and nominations 9.1 Original Broadway production 9.2 Original London production 9.3 2005 London revival 9.4 2008 Broadway revival 10 References 11 Further reading 12 External links Synopsis[edit] A Sunday Afternoon on the Island of La Grande Jatte Act I In 1884, Georges Seurat, known as George in the musical, is sketching studies for his famous painting, A Sunday Afternoon on the Island of La Grande Jatte. His longtime mistress, Dot, models for him despite her frustrations (Sunday in the Park with George). Meanwhile an Old Lady and her Nurse discuss how Paris is changing to accommodate a tower for the International Exposition. The setting abruptly changes to an art gallery, where Seurats first painting is on display. Jules (a more successful artist friend of Georges) and his wife Yvonne think Georges work has No Life. Back on the island, Jules and Yvonne have a short discussion with George and depart. They take their coachman Franz with them, interrupting Franzs rendezvous with the Nurse. In Georges studio he works on his painting while Dot prepares for their date at the Follies (Color and Light). In the end George chooses to continue painting instead, greatly upsetting Dot. In the park George sketches a grumpy Boatman. Dot enters on the arm of Louis, a baker. Two chatting shop girls, both named Celeste, notice Dot with a new man (Gossip). George sketches two dogs while whimsically trying to imagine the world from their perspective (The Day Off). Jules and Yvonne enter during the song and mock the unconventional nature of Georges art. They protest an initiative to have his work included in the next group show. The two Celestes try to attract the attention of a handsome Soldier and his companion; Franz and his wife Frieda argue with Jules and Yvonnes daughter, Louise; Jules returns to further lecture George on his shortcomings as an artist; the Boatman reappears to rebuke the condescending attitude of artists. Dot misses George, but feels justified in having chosen Louis instead (Everybody Loves Louis). The two Celestes fight over the more handsome of the two soldiers (The One on the Left). As the park empties for the evening, George returns. He misses Dot and laments that his art has alienated him from those important to him, but resigns himself to the likelihood that creative fulfillment may always take precedence, for him, over personal happiness (Finishing the Hat). At the studio Dot tells George that she is pregnant, and that she and Louis are getting married and leaving for America. She asks for a painting George made of her, but he refuses. Jules and Yvonne come to the studio. Yvonne and Dot talk about the difficulties of trying to maintain a romantic relationship with an artist, while Jules and George discuss Georges painting in progress. Jules is puzzled by Georges new technique, and concerned that Georges obsession with his work is alienating him from his fellow artists and collectors alike. Jules and Yvonne leave, and Dot and George argue bitterly about their failed relationship, concluding sadly that (We Do Not Belong Together). In the park George and his mother, the Old Lady, reminisce (Beautiful). The Celestes and the Soldier argue over their respective break-ups while Jules and Frieda enter to have a clandestine affair in the park. Louise informs her mother, Yvonne, of her fathers infidelity and a fight breaks out between Jules, Yvonne, Franz, and Frieda. While this conflict develops the Celestes and the Soldier squabble noisily. Soon all the park-goers are fighting furiously, until the Old Lady shouts, Remember, George! George takes control of the subjects of his painting, who sing in harmony (Sunday). George transforms all of the people into the final tableau of his finished painting. Act II As the curtain opens the characters – still in the tableau – complain about being stuck in the painting (Its Hot Up Here). The characters deliver short eulogies for George, who died suddenly at 31. The action fast-forwards one hundred years to 1984. George and Dots great-grandson, also named George and also a struggling artist, is at a museum unveiling his latest work: a color and light machine called (Chromolume #7), an artistic reflection on the painting from the first act. Marie, the new Georges grandmother and the first George and Dots daughter, helps with the presentation. At a reception various patrons and curators congratulate George on his work while George comments about the difficulties of producing modern art (Putting It Together). After the museums patrons have left Marie contemplates her legacy (Children and Art). Weeks later, Marie has died and George has been invited by the French government to do a presentation of the Chromolume on the island where the painting was made. On the island George reads from a book he got from his grandmother – the same book Dot used to learn to read – and ponders the similarities between himself and his great-grandfather (Lesson #8). A vision of Dot appears and discusses her book with George. Dot tells George to stop worrying about his critics (Move On). George finds some words written in the back of the book – the words George often muttered while he worked. As George reads them aloud the characters from the painting fill the stage and recreate their tableau (Sunday). As they leave and the stage resembles a blank canvas, George reads: White: a blank page or canvas. His favorite – so many possibilities. History[edit] Following the failure and scathing critical reception of Merrily We Roll Along in 1981 (the show closed after 16 performances), Sondheim announced his intention to leave the musical theatre to write mystery novels.[citation needed] He was persuaded by Lapine to return to the theatrical world after the two were inspired by A Sunday Afternoon on the Island of La Grande Jatte, the masterpiece of the French pointillist painter Georges Seurat. Lapine noted that one major figure was missing from the canvas: the artist himself.[1] This observation provided the springboard for the creation of Sunday and the production evolved into a meditation on art, emotional connection and community. The musical fictionalizes the life of Seurat. In fact none of his children survived beyond infancy and he had no grandchildren. Seurats common-law wife was Madeleine Knobloch, who gave birth to his two sons, the second after his death. Unlike Dot in the musical, Knobloch was living with Seurat when he died and she did not emigrate to America. She died of cirrhosis of the liver at the age of 35.[2] Productions[edit] Original off-Broadway production[edit] The show opened off-Broadway at Playwrights Horizons, starring Mandy Patinkin and Bernadette Peters, in July 1983 and ran for 25 performances. Only the first act was performed and even that was still in development. The first act was fleshed out and work began on the second during that time and the complete two-act show was premièred during the last three performances.[3] After seeing the show at Playwrights, composer Leonard Bernstein wrote to his friend Sondheim, calling the show brilliant, deeply conceived, canny, magisterial and by far the most personal statement Ive heard from you thus far. Bravo..[4] Kelsey Grammer (Young Man on the Bank and Soldier), Mary Elizabeth Mastrantonio (Celeste #2) and Christine Baranski (Clarisse) were in the company of the off-Broadway production but did not continue with the show to Broadway.[5] Original Broadway production[edit] The musical transferred to the Booth Theatre on Broadway on May 2, 1984. The second act was finalised and the show was frozen only a few days before the opening. Directed by Lapine, Patinkin and Peters starred, with scenic design by Tony Straiges, costume design by Patricia Zipprodt and Ann Hould-Ward, and lighting by Richard Nelson. When Sunday opened on Broadway it received mixed responses from critics. The New York Times theatre critic, Frank Rich, wrote: I do know... that Mr. Sondheim and Mr. Lapine have created an audacious, haunting and, in its own intensely personal way, touching work. Even when it fails - as it does on occasion - Sunday in the Park is setting the stage for even more sustained theatrical innovations yet to come.[6] The musical enjoyed a healthy box office, though the show would ultimately lose money; it closed on October 13, 1985 after 604 performances. Although it was considered a brilliant artistic achievement for Sondheim and was nominated for ten Tony Awards, it won only two, both for design. (The major winner of the night was Jerry Hermans La Cage aux Folles. In his acceptance speech Herman noted that the simple, hummable tune was still alive on Broadway, a remark some perceived as criticism of Sondheims pointillistic score. Herman has since denied that that was his intent.)[7] Sunday won the New York Drama Critics Circle Award for Outstanding Musical and Sondheim and Lapine were awarded the Pulitzer Prize for Drama, one of only eight musicals to win the Pulitzer. On May 15, 1994, the original cast of Sunday in the Park with George returned to Broadway for a tenth anniversary concert, which was also a benefit for Friends in Deed. Original London production[edit] The first London production opened at the Royal National Theatre on March 15, 1990 and ran for 117 performances. Philip Quast and Maria Friedman headed the cast, with Quast receiving the Olivier Award for Best Actor in a Musical. 2005 London revival[edit] The first revival of the show was presented at the Menier Chocolate Factory in London, opening on November 14, 2005 and closing on March 17, 2006. The score was radically re-orchestrated by Jason Carr and starred Daniel Evans and Anna-Jane Casey, with direction by Sam Buntrock. The production transferred to the Wyndhams Theatre in Londons West End, opening on May 23, 2006 and closing on September 2, 2006. Jenna Russell replaced the unavailable Casey. The revival received six Olivier Award nominations overall, and won five in total including Outstanding Musical Production, Best Actor in a Musical and Best Actress in a Musical. The cast of this production released a 2-disc recording on the PS Classics label, which is the most complete recording of the score to date. It also contains a bonus track - the original, full version of The One on the Left (of which only a fraction survives in the final show) performed by Christopher Colley, Sarah French Ellis and Kaisa Hammarlund. 2008 Broadway revival[edit] The 2005 London production transferred to Broadway in 2008, where it was produced by Roundabout Theatre Company and Studio 54. As a limited engagement, previews started on January 25, 2008 with an opening on February 21, 2008, running through June 29 (making this the 3rd extension).[8] Daniel Evans and Jenna Russell (who starred in the 2005-6 London production) reprised their roles with Sam Buntrock directing. The cast included Michael Cumpsty (Jules/Bob), Jessica Molaskey (Yvonne/Naomi), Ed Dixon (Mr./Charles Redmond), Mary Beth Peil (Old Lady/Blair), and Alexander Gemignani (Boatman/Dennis).[9] Reviewers praised the script and score as well as the innovative design, with praise for the entire cast. Ben Brantley wrote in The New York Times The great gift of this production, first staged in London two years ago, is its quiet insistence that looking is the art by which all people shape their lives. ...a familiar show shimmers with a new humanity and clarity that make theatergoers see it with virgin eyes. And while Sunday remains a lopsided piece — pairing a near-perfect, self-contained first act with a lumpier, less assured second half — this production goes further than any I’ve seen in justifying the second act’s existence.[10] As described in The New York Times In his [Buntrocks] intimate production, live actors talk to projections, scenery darkens as day turns into night, and animation seamlessly blends into the background...In this new version, thanks to 3-D animation, the painting, currently the crown jewel of the Art Institute of Chicago, slowly comes together onstage. A sketch emerges, then color is added, and the rest gradually comes into focus, piece by piece.[11] The Broadway production received five Outer Critics Circle Award nominations, three Drama League Award nominations and seven Drama Desk Award nominations including Outstanding Revival of a Musical, Outstanding Actor and Actress in a Musical and Outstanding Director of a Musical. Russell and Evans also received Tony Award nominations for their performances. At the Tony Awards, Russell and Evans performed the song Move On. Other productions[edit] As part of the Kennedy Center Sondheim Celebration, the musical was presented in the Eisenhower Theatre from May 31, 2002 to June 28, 2002. Directed by Eric D. Schaeffer, the cast featured Raúl Esparza and Melissa Errico. This play is of special significance for Chicago in that Seurats masterpiece, the backdrop of the play, hangs in the Art Institute of Chicago. The Chicago Shakespeare Theater presented a production of the musical in 2002, directed by Gary Griffin. It was presented in the more intimate, 200 seat, Upstairs Theater. In September 2012, Griffin returned to direct the play in the larger downstairs Courtyard Theater of C.S.T.. Notable in this production is the fact that in the final scene of the play, all of the cast appear in white costumes; the music for the production is supplied by a live orchestra seated above and to the rear of the actors where they can be seen by the audience. Griffin also chose to have as background for the performance a full-stage reproduction of Seurats work which changed in both content and color to match certain moments in the play. The lead roles were played by Jason Danieley as George, Carmen Cusack as Dot, his mistress, and Linda Stephens as the Old Lady. The Ravinia Festival in Highland Park, Illinois, presented a semi-staged production for three shows from September 3 to 4, 2004, with Michael Cerveris, Audra McDonald, Patti LuPone and direction by Lonny Price.[12] The team responsible for the London revival mounted a production in April 2009 at Seattles 5th Avenue Theatre, featuring Hugh Panaro, Billie Wildrick, Patti Cohenour, Anne Allgood, Allen Fitzpatrick and Carol Swarbrick.[13] The Dutch production company M-Lab presented a small-scale production of the musical from June 9 through July 3, 2010. From April 15 through 25, 2013, the musical was performed in the English language at the Théâtre du Châtelet in Paris, directed by Lee Blakeley featuring the Orchestre Philharmonique de Radio France led by David Charles Abell. George was played by Julian Ovenden. For this occasion, Michael Starobin reworked his musical arrangements, which were originally tailored to an 11-piece chamber orchestra, to match a full orchestra.[14] The production was taped for radio and TV. In July 2013, Victorian Opera staged an acclaimed production in Melbourne, Australia, starring Alexander Lewis as Georges and Christina ONeill as Dot.[15] It was directed by Stuart Maunder and conducted by Phoebe Briggs. 11 members from the Orchestra Victoria performed the score with Michael Starobins original orchestrations. Audience members were required to wear 3-D glasses to view the Chromalume in Act 2.
Posted on: Thu, 13 Feb 2014 08:13:59 +0000