"Roundabout Theatre Company really ought to rename Studio 54 as The Stephen Sondheim Theatre -- or at least something like Studio Sondheim. Or even Sondheim 54.
The company's revival of "Sunday in the Park with George" follows their productions of Sondheim's "Company," "Follies," "Assassins" and "Pacific Overtures." And word on the street is that "Merrily We Roll Along" is next on the list.
The quality of these revivals has been a mixed bag. While "Assassins" was perfect, the others disappointed. But "Sunday in the Park," which is based directly on Sam Buntrock's London production, is nothing short of a triumph that is worthy of an extended run.
Daniel Evans (George) and Jenna Russell (Dot), who won Olivier Awards in London, shun the starry, idiosyncratic touches of Mandy Patinkin and Bernadette Peters, who originated their roles. Both deliver extremely sensitive, nuanced performances that allow "Sunday," one of the most difficult musicals ever, to resonate emotionally like never before."
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
It had better get across-the-board raves or I will loose faith in everything.
I doubt it. No matter how good the production, some critics (particularly John Simon and Clive Barnes) are bound to dislike it because they just don't like the show itself. Which is not an unpopular opinion.
That said, I agree, it'd better get raves.
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
While the show's frame of reference extends to all artists, the parallels between the composer and both Georges are startling. The choice of unconventional subject matter, the refusal to be ruled by commercial instincts, the charges of being remote and cerebral, the ambivalent relationship with critics, the compromises and thankless schmoozing required to secure funding, the challenges of collaboration -- these considerations make "Sunday in the Park" the most transparently confessional of Sondheim's works.
It's a difficult but infinitely rewarding musical of disparate elements that combine to achieve true harmony, bringing passionate insight to the relationship between art, artists and audience, and to the boundless possibilities of art itself. The clarity and depth of understanding in this revival make it an experience to be savored.
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
Clive Barnes tends to change his opinions when it comes to revivals. He hated COMPANY the first time around, but gave the Doyle revival 3 stars.
Yes, but Barnes is also afraid to be unpopular. COMPANY is considered by most Sondheads to be high in the cannon, while SUNDAY is somewhat lower.
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
I hope this production gets the raves it deserves. Glad to see it's already doing well.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
Regardless of the critical response, I'm still excited about seeing the show. Based on BWW poster opinions, I bought a ticket for the show when I'm in NYC in March. Though I've had the OBCR for many years, I've rarely listened to it. Since buying my ticket, I've been listening to it quite a bit, and have to say I truly love the score.
New York Sun is Positive OR "Who cares if everyone in the audience loved Daniel and Jenna? I'M GONNA' BE DIFFERENT!"
Ms. Russell has a melting soprano, a formidable chest voice (eerily similar to that of Bernadette Peters, the original Dot) and, whether she's wearily examining a trace of upper-arm flab in the mirror or staring incredulously at a man who can't look at his own daughter, a touching reserve as Dot. But she falls back on a few calculated (and admittedly enjoyable) comic bits as the spunky Marie and seems misdirected during Dot's final appearance. And the infectious spark crucial to making Seurat's obsession even remotely sympathetic remains out of Mr. Evans's reach, a problem that he attempts to remedy with an unconvincingly glib George in Act II.
Mr. Lapine's spare concluding words dovetail beautifully with a gorgeous final image of Mr. Buntrock's creation. The word "breathtaking" comes to mind — but perhaps this is because Mr. Evans's George, upon seeing it, audibly takes a delighted breath. This cloying moment represents a rare misstep for Mr. Buntrock, who has created a production that will be remembered long after any casting quibbles have faded away. He has mapped out not only a sky but the sad, splintered, and improbably hopeful world underneath it — and "Sunday" is richer for it.
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
"COMPANY is considered by most Sondheads to be high in the cannon, while SUNDAY is somewhat lower."
As a ten-year member of Sondheim.com (here I'm only a "Broadway Legend," there I'm a "God") I have to disagree with this.
I would say that, among sondheads, Sunday is almost always above Company on their lists of favorites. In fact, I'd say that if a poll were taken you'd find Sunday in either first or second place (battling it out with Sweeney) with Follies a close third (because it inspires obsession among fans yet has too many book problems) and Company just behind that.
But in any case, thanks for posting the reviews. I'm thrilled at the positive response this production is getting and am counting the days until I get to see it myself.
Art has a double face, of expression and illusion.
Nice! Thanks for posting that! I've been trying to explain the projections to my husband and that was a nice moving example of some of them.
Now, mother always said that whenever you hear a strange, frightening, and potentially life-threatening ghostly chant coming from the dark woods that there's one thing that you should do: Not wake the others and go investigate it alone...
Wow! I got goose bumps watching that!. I have always loved this score and have never seen it performed (except on dvd). I have tickets for the end of March I believe. This looks absolutely stunning!
Those Blocked: SueStorm. N2N Nate. Good riddence to stupid! Rad-Z, shill begone!
My wife and daughter are more into the Jersey Boys / Xanadu /Wedding Singer type 'fun,pop rock' shows and they both enjoyed this 10x more than they thought (and actually want to try to see it again) !!