Report from London: SUNDAY IN THE PARK

[Michael Bennett]

Posted: 7/7/06 at 3:27am

I'm in London for the next week, and thought I would share my ongoing thoughts of what I've seen in this thread....

I've always had a deep affinity for SUNDAY IN THE PARK WITH GEORGE; when I was about twelve years old, my father bought me a new contraption called a "compact disc" player. At the time there were only a handful of cast albums available on the new format, and one of those was the OBC of SUNDAY IN THE PARK.

I literally have grown up with the score; we all have one or two musical recordings that we somehow identify with as a soundtrack of our lives and SUNDAY has for me always resonated on some very deep level - the pursuit of an artist, the relationship between family and art = all that good stuff.

But despite many viewings of the great television broadcast, I have never seen SUNDAY live. Until last night.

It was important to preface my long "history" with the show, because it no doubt played into my experience of the new production at the Wyndham, but even I was taken by surprise at how incredibly moved I was by this production. Tears started to well up half way through the first act, and by the end of the second I'd stopped trying to wipe the tears streaming down my cheeks.

The production is extraordinary. I think some purists or people who are scholars of the original production will have some issues with it, and while I could fuss at some of the details that felt overlooked or unrealized, that would be to take away from the things that are so wonderfully right with the staging.

The elegent sweeping design of the show has to be credited with part of the productions great success at reimagining the material. Things that could only be hinted at in the first staging (the chromolume, the transition of the park from dead to alive, dueling dogs, George's bartering during "Putting it Together") are brought to vivid, exciting life here. In fact the fluid transitions, I think are one of the main reasons the second act, normally so problematic seems to work so well this time. Actually seeing the painting becoming a framed work of art in museum as viewers over 100 years walk suddenly bridges the gap between canvas and masterpiece. The design is full of touches like this which keep the action absolutely riveting.

There are already plans to move this production to the Roundabout (AA Theatre - American ironically is already a corporate sponsor of the show in the UK), and while it will be exciting to see who is cast in these roles for Broadway, it is hard to imagine a better matched pair than Daniel Evans and Jenna Russell who both are luminous and heartbreaking.

Evans is a very different George from Patinkin; a performer fundamentally optomistic and filled with light, Evans reprsents a less brooding more searching George, which I think also contributes to the success of the second act. This George is less egotistical and more desperate.

Russell's Dot is gorgeous and earthy. Her Marie wise and sad. One of the great strengths of this production is the clear illustration between art and love/art and family. Contributing greatly is the performance of Gay Sober as George's mother. The moment of George's refusal to see his daughter becomes a heartwrenching moment of regret as we see George's mother react to a son she no doubt helped to "create" but can no longer connect to.

As a side caveat, what a treat to have SUNDAY playing right next door to the National Gallery where Seuret's famous "Bathers of Asnieres" hangs. I dare any show queen to walk past the real thing and not comment on "the dog!"...





Updated On: 7/12/06 at 03:27 AM

[RentBoy86]

Posted: 7/7/06 at 3:42am

I'm glad you liked it! It sounds like a wonderful production. I only hope I'm as lucky to see it in NYC. Did it fit well into the theater? And I know you probably won't respond to this right away, but did the show have a "show curtain" and if so, what was it like? I can't wait to read your other reviews. Aren't the theaters/marquees in London beautiful? I hope you take pictures!

[Emilia]

Posted: 7/7/06 at 4:26am

I love that you love this production!

I saw the production at the Meiner chocolate factory (where it played before transfering) and it was very powerful in the tiny space, I'm really looking foreward to seeing it in the larger venue next month and seeing the wonderful Jenna Russell for the first time as Dot!

[algy]

Posted: 7/7/06 at 4:36am

Glad you liked it(though that sounds like it may be and understatement)! It's on my (ever growing) to-see list, though I'll probably have to stand/get student tickets as I'm so skint at the moment.

What else are you seeing in London (subtle request for reviews!)? I'm in the middle of my summer theatre going season and would be interested to hear your views on the London offerings (for the first time when I'm reading your reviews I may have actually seen the shows in question!)

[tophertilson]

Posted: 7/7/06 at 5:02am

There is no show curtain. But during the interval, there is a white, gauzy curtain drawn across the stage with the painting projected on it.

It's an amazing production. If Evans doesn't come to NYC, I'll be heartbroken.

[MrBundles]

Posted: 7/7/06 at 6:06am

I've been in London for 3 weeks and have seen 13 shows already...Sunday was WONDERFUL, but I have to say that everyone who didnt get to see Mack and Mabel really missed out. I was lucky enough to be there on closing night, and it was breathtaking....the concept worked much better with it than with sweeney todd....so sad it's gone.

[ruthiefan_felix]

Posted: 7/7/06 at 10:03am

I LOVED this production as well! I totally agree that Gay Soper was EXCELLENT! I sat on the first row and when George turned down Marie and her daughter, she wanted to turn round to see her grandaughter but somehow know she shudnt as she was posing and you can seeing drops of tears running out of her eyes and down that cheek... WOW! There are SO many emotion there!
I can still remember that day was one of the finest theatrical experiences I had in my life - Mack & Mabel in the afternoon, Sunday at night... what a wonderful day!

[BobbyRobbyBobbyBaby]

Posted: 7/10/06 at 1:15pm

I just got back myself and saw SUNDAY twice. I had seen it once already about a month ago and was completely blown away. I couldn't imagine that this production could get any better...boy was I wrong. The biggest improvement was Jenna Russell as DOT. I thought she was pretty good the first time but this time around, her voice projection as greatly improved but it's her acting that breaks your heart. Daniel Evans' GEORGE is even more intense. He delivers each song with such passion I'm not sure how he does it every night. I agree that Gay Soper was truly breathtaking. Her version of 'Beautiful' is gorgeous and haunting.

I do hope that with the success of The History Boys there will be a good chance that the cast could stay intact if it does go to Broadway. Afterall, it is what has made this production such a phenomenal success.

[Michael Bennett]

Posted: 7/12/06 at 5:00pm

I'd definitely be in favor of Evans, Russell and Sober coming over, but I actually feel Sam Buntrock could probably get just as good if not better performances out of an American ensemble. As a group they are terrific, but individually, Joanne Redman (as Nurse/Mrs), Simon Green (as Jules), and Liza Sadovy (Yvonne) don't really touch what their OBC counterparts did with the material.

[folkyboy]

Posted: 7/12/06 at 5:03pm

yay i know i'm a lamer but i loved the cast album for this SO much. if it does come to NY i will be sad if the cast can't come with....

[ljay889]

Posted: 7/12/06 at 5:05pm

I really love Russell on the recording a lot. But she is the one I can see being replaced if it transfers (which it better.) I can see Evans asked to transfer. Though I would KILL to see Ruthie Henshall in the role, I'm sure we'd get an American female Bway star in the role.

[Johnnytoc]

Posted: 7/12/06 at 5:09pm

Is it definitely coming to Roundabout? I would hope it does.
I saw this when I was in London and absolutely loved it, though I disagree about Simon Green, he made me appreciate the character of Jules much more.

[sidwich]

Posted: 7/12/06 at 5:18pm

I just have to add that my parents saw this in London, and when my mother said they were going to see SITPWG, I was a little concerned. My parents love theatre, but my father is very much of the "if this isn't entertaining, he's out like a light by intermission." And let's face it, not everyone finds "Sunday" entertaining. Much to my surprise, he absolutely fell with this production, and thought it was stunning, one of the best things he's seen in years.

[Michael Bennett]

Posted: 7/12/06 at 5:18pm

I don't think Henshall would be right for this particular production. What makes Russell so wonderful is a sort of child like innocence she brings to Dot and even more so to Marie in the second Act. I love Ruthie, but she screams sophistication and elegance to me, and she really is too old to play the role opposite somebody like Daniel Evans.

But I do agree, I think they will probably cast American Actors in all the roles for the transfer. Updated On: 7/12/06 at 05:18 PM

[ljay889]

Posted: 7/12/06 at 5:29pm

Ruthie is only late 30's. I agree she might not be right for THIS production. But I still think she'd be killer in the role. and no one screams elegance more than Audra....


Anyway I can see Ruthie in so many killer roles when she gets older. Two being Momma Rose and Mrs. Lovett. Updated On: 7/12/06 at 05:29 PM

[Michael Bennett]

Posted: 7/12/06 at 5:39pm

I agree regarding Audra. After having heard her performance at Ravinia, I don't think she's really right for the role either.

But I don't think we have to worry about McDonald doing the transfer of SUNDAY; her Broadway appearances of late are rare, and I doubt she would do two revivals on Broadway back to back. She has always said her first obligation will be to perform new works in New York.

[joshy]

Posted: 7/12/06 at 6:10pm

Michael Bennett, can I just say how much I am enjoying the reports you're writing of what you are seeing while you're here? It's great to read such detailed and articulate comments on the productions here, they are very rare. :) Are you going to be able to see anything else while you're here? How long will you be in London for?

[FoscasBohemianDream]

Posted: 7/12/06 at 7:59pm

I have to agree with LJay about Ruthie Henshall. I believe with the right director she'd be a fantastic Dot, and her "Children & Art" as Marie would probably be her best number.
While I like Jenna Russell in the new recording, I wouldn't mind seeing an American actress (or another British actress like Henshall) tackling the role. Jane Krakowski is another actress I can think of that would do something completely different with the role and still make it work. Probably because I haven't seen her live, but Russell's Dot doesn't feel as definite as Bernadette Peters' was in the original production.

[SweeneyPhanatic]

Posted: 7/12/06 at 8:51pm

Can you give some more details on the set in this production? I love reading about sets.

[RentBoy86]

Posted: 7/13/06 at 1:42am

SweeneyPhanatic, I'm the same way about sets. But from what I remember from seeing pictures and whatnot, there isn't a real set. It's more of 3 big white walls in which things are projected on. There's a video about it if you search the threads and it shows the set a lot. It's a brillant idea for this show.

[LostLeander]

Posted: 7/13/06 at 2:19am

This is tough, because Sunday is my favorite show, and I find it difficult to listen to anyone other the OBC.

I generally have this problem with all Sondheim OBC's, and their revival counterparts.
I got the Chocolate Factory recording on Sunday.

And this is definately a different production.
I'm never a huge fan of reduced Sondheim orchestrations, but they're practical, and they sound nice.
I really like the British accents. They're adorable.
But is Jenna Russel Scottish, or just a specefic British dialect that I'm not familiar with?

In any case, the woman has got some kind of fierce belt, and I wish she'd use it more often. Her Marie is great.
She sounds like a great actress, though.

Daniel Evans is great. Period. It's weird not hearing Patinkin though, and his crazy "Is it falsetto, is it full voice?" stylings on the score.

And, I'm sorry, but no one can touch Dana Ivey's "No Life".
"The DOG!"
But again, very very nice work from what I can tell. I would LOVE to have this production over here.

I love the mostly successful attempts at American accents too.

This recording definately does not replace the OBC, but it is a treasure to have.

[FoscasBohemianDream]

Posted: 7/13/06 at 3:39am

From what I learned about dialects and accents in college acting, Jenna Russell uses a cockney accent which works quite well for Dot who is illeterate. I still don't see her performance as definite or groundbreaking, again this is only judging from the recording which is not much.

[ruthiefan_felix]

Posted: 7/13/06 at 3:52am

Jenna uses a Northern accent which kinda contrasts herself with the London accent Daniel carries which is nice touch I feel.
Ruthie wud not be right in this production I feel - though I LOVE her SO much and would LOVE to see more of her in Sondheim stuff!
I think Audra sounded very weird in the concert and I didn't like her! You guys would be SO lucky if you have Gay Soper n Daniel Evans coming over whom I thought were the true STARS of the show!
Wow... this yr's Olivier wud be tough!

[Michael Bennett]

Posted: 7/13/06 at 7:46am

I too initially had a tough time divorcing myself from the OBC when I first heard the new recording, but you really have to view them as completely seperate entities. And I found you can't really compare what you hear on that disc to what you see from the same actors in the theatre. It captures only a very small part of what makes them so special live together on stage.

The set is a white studio. There is no front curtain, only an extremely raked wood floor, three walls with several ornate white doors and moldings, and a series of curtains made of muslim draped and held with white tassles.

House Right is Dot's chair, makeup table and shelf. House Left is George's art supplies and several blank canvases.

When George appears on stage and begins to sketch, the white studio becomes a white box theatre, with projections transferring the three walls into a black and white sketch version of the park. The hanging drapes become trees.

Basically, the rest of the show is done with the entrance of people, props and set pieces like benches and a scaffold that slide on through the doors. The projections move from sketch to color to photograph as the show progresses creating the Park, the studio, the museum, the chromolome and the park again modern day.

The set is absolutely gorgeous and really helps, IMO, to revive the reputation of a show, that was probably a little ahead of its time; even from a design standpoint, it asked a lot of its creative team that was kind of hard to completely realize in 1983, but modern technology now makes effortless.
Updated On: 7/13/06 at 07:46 AM

[ruthiefan_felix]

Posted: 7/13/06 at 9:43am

I think the Original Broadway show is very big and the set just WOWs you cuz it's so detailed and so big.
But the new set amazes me cuz it's so fresh and the use of projection is SO much more suitable than in WiW! I sat in the front row and man was that the best theatrical experiences! George draws a line and there, a line is drawn in front of your eyes on the set. I think it's simply amazing and I am not sophisticated enough to find words to describe the set!