Sunday in the Park at Chicago Shakespeare

[jon5202]

Posted: 10/4/12 at 12:53pm

Video look at this Chicago production from Chicago Tribune website

Go down the screen to video section on right hand side and hit play

Best seen in full screen version

http://www.chicagotribune.com/entertainment/theater/theaterloop/#&lid=Theater&lpos=Sub

[PalJoey]

Posted: 10/4/12 at 12:59pm

Wow. That looks great.

[EricMontreal22]

Posted: 10/4/12 at 1:22pm

That review pretty goes with what a friend of mine said--she said there was nothing revelatory about the production (not sure why there should be), but it was an extremely polished and satisfying production.

[luvtheEmcee]

Posted: 10/4/12 at 8:32pm

Seeing it this weekend. Cannot f-ing wait. That show just so deeply satisfies my heart.

[GavestonPS]

Posted: 10/4/12 at 8:39pm

I would love to hear Jason Danieley sing Georges/George. His "Move On" with his wife is simply brilliant on their CD. (I'm sure everyone here knows, but just in case: he is married to Marin Mazzie.)

[JeaniusIsMe]

Posted: 10/4/12 at 11:46pm

I saw it last week and absolutely loved the production. Danieley is wonderful, but I thought Carmen Cusack was the star of the production, IMO. Everyone who is yet to see it is in for a treat.

[Owen22]

Posted: 10/5/12 at 10:28am

it wasn't a radical revision but Gary Griffen did some neat things. My fave was having Act 2 George viewing, listening and them moving amongst the painting characters during "It's Hot Up Here". He has a book on the painting with him, as if he, as artist, is studying the work. During the monologues about Act One George's death he sits and read the book getting his ancestor's history. For some reason that made the odd Twilight Zone transition when Dot shows up a little easier to go with. Also, when the actors come back for the "Sunday" reprise they are dressed not in their Act One character's costumes, but all in white, simple outfits (except for Dot and his Mother who are in white replicas of thier costumes). They finish in front of him and he refers to this white tablea when he says, "White: A blank page or canvas. So many possibilities" This, coupled with Danieley's wonderful line reading, makes that last moment even MORE moving.

[indytallguy]

Posted: 10/11/12 at 8:01am

I was able to see both the matinee and evening performances yesterday while here for work. The matinee attracted a much older crowd (subscribers I would guess), many of whom clearly didn't get the show and left in high numbers during intermission. As a result the audience was somewhat flat throughout for the performance. The evening crowd was much better.

As with the CST production of Follies, this Sunday production reveals more layers of character through the interplay among the actors, the nuances of the acting, and the blocking allowed/required by the thrust stage. Subtle changes in facial expression register huge emotional impact.

The video projections work well and are quite minimal compared to what I recall in the 2008 Broadway revival. They are, however, the predominant stage background throughout.

Daniely offers a strong performance in both acts and sings the part exceptionally well. He did seem surprisingly weak on the endings of a few long notes. But it was Cusack's performance that left me most impressed. Her Dot is more nuanced than the often coquettish portrayal. She's simple in her ways, but still substantial in her identity.

The handling of Chromolume #7 worked for me and was more connected to the original painting than I think I've ever seen in a production. Both "Beautiful" and "Children and Art" were delivered exquisitely and were heart-wrenching in soft and subtle ways. "Putting it Together" felt oddly paced for me (very slow in the solo sections) and I missed the cardboard cutouts (or variations) used in other productions. And as others have noted, the staging of the closing number works very well and leaves you feeling more emotionally connected and uplifted that this George will again create.

For some reason lines that usually get big laughs seemed to only get slight chuckles here. I'm not sure if the humor was being intentionally underplayed, if slight sound issues might have made the line readings less intelligible, or if people just didn't get it.

Overall, a really enjoyable production, but unlike last year's Follies, I don't think you need to make a special trip to Chicago to see it. But if you're here, by all means get a ticket. Just avoid the weekday matinee if you can.

Updated On: 10/11/12 at 08:01 AM

[Wilmingtom]

Posted: 10/11/12 at 3:12pm

I saw the Oct. 1st preview and loved it. Cusack, as others have noted, is absolutely extraordinary and Danieley, while having some terrific moments, was still finding his footing a little bit. Griffin's staging is striking, unfussy and gorgeous and the whole shebang sounds like a million bucks, Danieley included. I don't think I've ever experienced a more emotionally staggering "Move On." It was only inches from being an unqualified, glorious production and it sounds like they brought it over the line.

[jimmycurry01]

Posted: 10/11/12 at 9:38pm

I saw this yesterday afternoon, and it was fantastic. Carmen Cusack delivered a truly heartfelt performance. Jason Danieley made a great George. If he wasn't connecting with the role before, he certainly did yesterday. If you are in the Chicago area and able to get a ticket, do check it out.