My thoughts on SUNDAY in the PARK with GEORGE

A very good production of an interminable show.

Personally, I've always felt that SUNDAY was one of Sondheim's weaker shows - a mostly monotonous score, a completely superfluous second act, equalling an example of two authors trying to be profound but end up achieving pomposity, not profundity.

That said, Sam Buntrock's staging does nothing in terms of making the material more interesting. However, it is well cast and designed.

The production is beautifully sung on all counts. Jenna Russell is quite, quite good. In the second act, if you close your eyes, you'd think you're listening to Bernadette Peters. And that's not a detraction (especially since I haven't heard the Bernadette versions in years). She gives a very heartfelt, well thought out performance.

Daniel Evans rarely commands the stage, but when he reaches the forefront every now and then, he's very strong. However, Russell is the star.

As for the ensemble, they sound great, but none of them truly make much of an impression. Jessica Grove and Brynn O'Malley do. So do Anne L. Nathan and Ed Dixon.

Lovely costumes, very suitable set, both by David Farley. Ken Billington's lighting is glorious (and very award-worthy). And the projections are the highlight of the show. Especially the Cromolume sequence and the various Georges during Putting it Together.

For anyone wondering, they're selling Sondheim-signed scripts for $40. I don't know how much the signed vocal selections costs. Contrary to the report the other night that they only had a few, it looked like they had stacks of them today. And they're authentic. Mine is slightly smudged.

IMO, Sunday is esoteric, even by Sondheim standards. It's never been an easy sell and I doubt will ever appeal to the public-at-large (I'm not talking about the Sondheim public-at-large, but that's a totally different issue). I liked it the first time (well, the first act; the second left me cold) and am looking forward to seeing this production, if for no other reason than it's not a Sondheim show you're going to see every other day of the week. Having said that, I personally prefer it to either Passion or Into the Woods.

---

Updated On: 1/27/08 at 06:39 PM

I've never hated that second act. I agree that some of it could be trimmed, ("Putting It Together" starts to sound like a rant after a while) but I really love parts of it. Mostly, it's George returning and reuniting with Dot and sort of finishing his ancestor's life.

---

Does anyone else find Yankee's use of the word "pomposity" here as completely ironic as I do?

And for someone so self-important and purportedly intellectual, you could at least recognize that "none" is singular:

As for the ensemble, they sound great, but none of them truly make much of an impression.


To borrow from the illustrious Christian Siriano... I'm gonna die of barfness.

Of course, there is no show without the second act. The show is about connections.

The score connects throughout and is anything but monotonous. Minimalist, yes, just like the painting. Yet very complex and rich.

It's a difficult piece for most people to "get" on only a couple of viewings. But well worth it when that Eureka moment happens.

Fortunately it happened to me during previews of the original production.

It is a true masterpiece.

---

I agree. This show is a masterpiece. It's beautiful. If you listen to the lyrics, they're truely moving. "Anything you do, let it come from you, then it will be new." I love it. I can't wait to see this show. And I think Act II is totally needed. It further explains the themes, and shows you how art is so misunderstood - in terms of quality.

Glad you had a nice time! I can't wait to see the show!

---

Just like in INTO THE WOODS (another Lapine/Sondheim collaboration heavily criticized for its second act), there is no SUNDAY IN THE PARK WITH GEORGE without Act II.
I'm seeing this production in February, but just based on the material itself, I don't think there is anything pompous or superfluous about the show itself. The beautiful connections created by Sondheim and Lapine (Dot's incredibly painful declaration, "we do not belong together, and we'll never belong..." in Act I turning into "we've always belonged together, we will always belong together" in Act II is one of the most beautiful, romantic, and perfect musical theater moments) are fascinating. I for one, can't wait to see it.

---

Does anyone know the rush policies for "Sunday"?

---

I saw this evening's performance. I loved the show in 1984, I loved it tonight. It is that rare revival that is as good as the original production. Beautifully cast, beautifully sung, beautifully performed and directed. As a creative person I have always connected with both acts, and I've always found it moving to the point of tears.

---

Rockabye -- the usual Roundabout rush policies apply. General rush for $26.25, I believe, when the box office opens, or student rush half price, whatever is left half an hour before curtain. You can get $21 advance tickets if you sign up for HipTix, too, though.

---

Just got back from tonight's evening performance. I was blown away. This is a long review post, but i didn't want to start another thread and if you're interested in seeing the show, I really want to let you know how I felt.

I, like many of the people that have posted their thoughts thus far, preferred the second act to the first in this production. I also found this production to be, in certain ways, superior to the original production (which I've only seen from the video taken for PBS.)

The good:
1. The set and lighting design. The projections are startlingly beautiful, clever, functional, and wonderful all at the same time, and the lighting is spectacular. I went in worrying that the projections would bring a modern, mechanical sensibility, and the actors engaging with the projections would also add a very inorganic feel, but fortunatley, this is not so, and the projections bring a new sense of life to the play - they are very organic and feel spontaneous. Neither upstages the other and the projections, costumes, lighting, and acting work together as a cohesive whole. Moments like "Move On", "Sunday", "Finishing the Hat", "The Day Off", "Putting it Together", and the opening number where all the elements combine to make a perfect whole are breathtakingly gorgeous. Huge props to Timothy Bird, David Farley, and Ken Billington.
2. The performances, namely that of Russell and Evans. What sets this production apart from the original and in ways, improves upon it, is the heart and warmth of the performances and staging. Evans is a far more vulnerable George than Patinkin, and is more appealing to watch. He still captures the George's intensity, but allows us in during his big moments. "Finishing the Hat" was marvelous. Russell is hilarious, boasts a terrific belt voice, and also displays real warmth and heart in her performance. As Marie, she is spectacular. "Children and Art" is one of the highlights of the show. She stopped the show with the title song, and made me weep with "Move On." Other highlights include Jessica Molaskey (what a voice), Michael Cumpsty, Mary Beth Peil (very affecting rendition of "Beautiful"), Santino Fontana, Anne L. Nathan (VERY funny), and Ed Dixon.
3. The direction. Buntrock makes Act II work more in this production because he focuses on the relationships of the characters, and on their stories. In the original production, Act II comes across as a rant for the authors' frustrations on being an artist, but here, we see everything come full circle. Act II does not feel like a seperate one act musical, but a continuation of what was left unfinished in Act I. When George comes full circle with Dot at the end, we see a man and a woman finally connecting in their relationship, a man reconnecting with his family, and an artist finally realizing that art is personal - we do art to connect, and by connecting, not really gaining the approval of others, but rather to know we are alive. The problem with this approach, i think, is that Act I needs to move quicker, because many great moments between Evans and Russell get milked and then everyone else has to try and keep up the energy while maintaining period style in their acting, difficult dialects, and of course, a difficult score. Act I did drag a couple of times tonight ("The Day Off", most of the Celeste bits)but hopefully that can be fixed by opening.

The bad:
1. Sound. As of right now, the admittedly wimpy sounding five piece orchestra (if a 16 piece orchestra is affordable and can fit in studio 54 for 110 in the shade, i don't see why it isnt/can't here) is overpowering some of the singing. And when such a small orchestra is overpowering some big ol' voices, there's clearly an issue. With the dialects some actors have, it makes it even more diffficult to hear what's going on. Also, there was a bit of static here and there. Hopefully this will be ironed out by opening.
2. I wasn't impressed by the Celestes. They made little impression and in their bits I found myself checking my watch.
3. and my biggest complaint: Alexander Gemingani is VERY miscast (not his fault) and completely unintelligble in both acts (his fault). I did not understand a single word out of his mouth in the first act, but I did catch about twenty or so in the second. yes, he is working with a thick dialect, but he was practically mumbling and needs to dictate more in both acts. As for being miscast, he is highly unimposing as the Boatman, and his vocal solos are too low for him (also difficult to hear). He makes a bit more of an impression as Dennis, but not enough to save him. Fortunatley, he's not in enough of the show to do too much damage.

Conclusion: Aside from the minor complaints above, this is a MUST-SEE production. One of the most emotional and inspiring evenings in the theater I've had in the past two years, and the best revival of a Sondheim musical in the past ten. What sets it apart is the warmth, heart, and focus on relationship. It allows the show to transcend it's high-minded roots and reputation, and functions as a highly moving narrative, just as much as, but no less than, a commentary on the frustrations of being an artist.

Grade: A

sweetestsiren - Simply, I found nothing in the material satisfying. I'm not saying it's bad, I surely "get" what Sondheim's trying to accomplish, but it just underwhelmed me. Of course there are some nice moments - I've always enjoyed "Putting it Together" the title number, and "Sunday." Anf the recurring "Color and Light" theme was caught in my head until late last night.

I just didn't feel for any of 'em. Their actions didn't matter to me in the least. I didn't strike me as a very well thought out or well-rounded piece. It was like Sondheim and Lapine wanted to create two shows - one about the making of a piece of art and one about the ideas of legacy, and tried to combine the two without much success.

It was like when you shake a soda bottle and leave the cap on. It builds and builds and builds, but then, nothing. Of course, for everyone else, that "nothing" is when Dot returns and finds Modern George.

But that's just My Opinion...

Updated On: 1/28/08 at 07:05 AM