Posted: 3/1/17 at 11:20pm
So I just watched the original Broadway cast version of Sunday in the Park with George and I can't understand why I sobbed uncontrollably at the end. Would anyone be kind enough to explain why I was in this very emotional state after watching the show?
Posted: 3/2/17 at 12:07am
Man, in search of purpose, finds it. Becomes complete.
At least that what it is for me. Can't speak for you.
Posted: 3/2/17 at 12:10am
I just got home from the revival and the from "Children and Art" on, the remaining songs in act 2 are very emotional and moving. It didn't make me flat out cry, but I understand your response to it.
By the way, the revival is a thing of beauty.
Posted: 3/2/17 at 12:13am
For me, it's a confluence of two things:
1) The moment when Seurat's characters bow before George. As dramamama wrote, it's the idea of finding purpose and becoming complete. To me, it also hits on ideas of generations, time, "the more things change, the more they stay the same"...
2) There's something in Sunday's score mechanically, compositionally, biologically that every time just produces insane emotion at least in my brain by the end of the show. The music in this show is so utterly brilliant and well-put together that by the time you've gone through all of these motifs and characters, the end just pushes you over and ruins you.
I totally sympathize with you, Theatrebaby, I'm always weeping at the end of Sunday and I can't ever quite explain why. But I'm always grateful to be! 
Posted: 3/2/17 at 3:00am
Theatrebaby-Ki said: "So I just watched the original Broadway cast version of Sunday in the Park with George and I can't understand why I sobbed uncontrollably at the end."
Only at the end? My tears start flowing as I watch the painting come together at the end of Act One, as the cast sings the ineffably beautiful "Sunday". By the end of Act Two -- yeah, I'm completely wrecked.
Posted: 3/2/17 at 3:35am
As I listened to the recording a few days ago, I again found myself with deep sobs and uncontrollable tears at the first few notes to Sunday. It always happens, but I noted at the time that it happens so automatically at just a few notes. Even when somewhat divorced from the show itself. (I was thinking of the Billy Porter gospel-influenced recording of the song).
I also was struck with the old, misguided belief that Sondheim is primarily a lyricist and a lesser composer. The beauty of the song itself and the way it pulls the themes together is genius. While the lyrics, aside from Georges' principles at the start, is mostly a geometric description of the picture's composition. Yet, by the time the heraldic horns join in, I'm a mess - and it's the music that does it. (And yes, undoubtably, he uses the tricks in the book to build the emotions to the climax.)
I've also gotta' add in the nodding tribute to the artist in the staging (and the birthday concert) that also stirs me to my own internal thank you to the composer when I hear the song.
Updated On: 3/2/17 at 03:35 AM
