Sunday in the Park with George
Sunday in the Park with George is a 1983 musical with music and lyrics by Stephen Sondheim and book by James Lapine. It was inspired by the French pointillist painter Georges Seurat's painting A Sunday Afternoon on the Island of La Grande Jatte (painted, 1884–1886). The plot revolves around George, a fictionalized version of Seurat, who immerses himself deeply in painting his masterpiece, and his great-grandson (also named George), a conflicted and cynical contemporary artist. The Broadway production opened in 1984.
For the Desperate Housewives episode, see Sunday in the Park with George (Desperate Housewives).Sunday in the Park with George
Stephen Sondheim
July 6, 1983: Playwrights Horizons, New York City
- 1983 Off-Broadway
- 1984 Broadway
- 1990 London
- 1994 Broadway concert
- 2005 Off-West End
- 2006 West End
- 2008 Broadway revival
- 2016 Off-Broadway
- 2017 Broadway revival
The musical won the 1985 Pulitzer Prize for Drama, two Tony Awards for design (and a nomination for Best Musical), numerous Drama Desk Awards, the 1991 Olivier Award for Best Musical, and the 2007 Olivier Award for Outstanding Musical Production. It has enjoyed several major revivals, including the 2005–06 UK production first presented at the Menier Chocolate Factory, its subsequent 2008 Broadway transfer, and a 2017 Broadway revival.
History[edit]
After the failure and scathing critical reception of Merrily We Roll Along in 1981 (it closed after 16 performances), Sondheim announced his intention to quit musical theatre.[1] Lapine persuaded him to return to the theatrical world after the two were inspired by A Sunday Afternoon on the Island of La Grande Jatte. They spent several days at the Art Institute of Chicago studying the painting.[2] Lapine noted that one major figure was missing from the canvas: the artist himself. This observation provided the springboard for Sunday and the production evolved into a meditation on art, emotional connection and community.[3][4]
The musical fictionalizes Seurat's life. In fact, neither of his children survived beyond infancy, so he had no heirs. Seurat's common-law wife was Madeleine Knobloch, who gave birth to his two sons, one after his death. Unlike Dot, Knobloch was living with Seurat when he died, and did not emigrate to America. She died of cirrhosis of the liver at the age of 35.[5][6]
Productions[edit]
Original Off-Broadway production[edit]
The show opened Off-Broadway at Playwrights Horizons, starring Mandy Patinkin and Bernadette Peters, in July 1983 and ran for 25 performances. Only the first act was performed, which was still in development. The first act was fleshed out and work began on the second during that time; the complete two-act show premiered during the last three performances.[7] After seeing the show at Playwrights, composer Leonard Bernstein wrote to his friend Sondheim, calling the show "brilliant, deeply conceived, canny, magisterial and by far the most personal statement I've heard from you thus far. Bravo."[8] Three performers in the off-Broadway production did not move with it to Broadway: Kelsey Grammer, who played a Soldier/Young Man on the Bank/Alex; Mary Elizabeth Mastrantonio, who played Celeste #2/Linda Cash; and Christine Baranski, who played Blair Daniels/Clarisse (Clarisse was later renamed Yvonne).[9][10]
Original Broadway production[edit]
The musical began previews on April 2, 1984 at the Booth Theatre on Broadway and officially opened on May 2, 1984. The second act was finalized and the show was "frozen" only a few days before the opening.
Lapine directed and Patinkin and Peters starred, with scenic design by Tony Straiges, costume design by Patricia Zipprodt and Ann Hould-Ward, lighting by Richard Nelson, and special effects by Bran Ferren. In his New York Times review of Sunday in the Park with George Frank Rich wrote, "What Mr. Lapine, his designers and the special-effects wizard Bran Ferren have arranged is simply gorgeous."[11] It was the first Broadway show to utilize projection mapping (onto the spherical surface topping the Chromolume #7 sculpture), and high powered lasers that broke the 4th wall, traveling throughout the audience.
Sunday opened on Broadway to mixed critical responses. The New York Times theatre critic Frank Rich wrote: "I do know... that Mr. Sondheim and Mr. Lapine have created an audacious, haunting and, in its own intensely personal way, touching work. Even when it fails—as it does on occasion—Sunday in the Park is setting the stage for even more sustained theatrical innovations yet to come."[12] The musical enjoyed a healthy box office, though it ultimately lost money; it closed on October 13, 1985, after 604 performances and 35 previews. Notable replacements in the cast over the course of the run include Robert Westenberg, Cris Groenendaal and Harry Groener all taking over the title roles and Betsy Joslyn and Maryann Plunkett taking over the roles of Dot and Marie.
Although it was considered a brilliant artistic achievement for Sondheim and nominated for ten Tony Awards, the show won only two, both for design. (The major winner of the night was Jerry Herman's La Cage aux Folles. In his acceptance speech Herman noted that the "simple, hummable tune" was still alive on Broadway, a remark some perceived as criticism of Sondheim's pointillistic score. Herman later denied that that had been his intention.[13]) Sunday won the New York Drama Critics Circle Award for Outstanding Musical and Sondheim and Lapine were awarded the Pulitzer Prize for Drama.[14] Sunday is one of only ten musicals to win a Pulitzer.
On May 15, 1994, the original cast of Sunday in the Park with George returned to Broadway for a tenth anniversary concert, which was also a benefit for "Friends in Deed". The only members of the original cast who weren’t in attendance were Robert Westenberg, Cris Groenendaal and Brent Spiner, who were filled in for by Howard McGillin, Jeff Keller and Bruce Adler, respectively.
Original London production[edit]
The first London production opened at the Royal National Theatre on March 15, 1990, and ran for 117 performances, with Philip Quast as George and Maria Friedman as Dot. The production was nominated for six Laurence Olivier Awards, beating Into the Woods, another collaboration between Lapine and Sondheim, to win Best New Musical (1991). Quast won the award for Best Actor in a Musical.[15]
2005 London revival[edit]
The show's first revival was presented at the Menier Chocolate Factory in London, opening on November 14, 2005, and closing on March 17, 2006. The production starred Daniel Evans and Anna-Jane Casey, with direction by Sam Buntrock, set and costume design by David Farley, projection design by Timothy Bird, musical direction by Caroline Humphris, and new orchestrations by Jason Carr.[16] The production transferred to the Wyndham's Theatre in London's West End, opening on May 23, 2006, and closing on September 2, 2006. Jenna Russell replaced the unavailable Casey. The revival received six Olivier Award nominations overall, and won five in total including Outstanding Musical Production, Best Actor in a Musical and Best Actress in a Musical.[17]
2008 Broadway revival[edit]
The 2005 London production transferred to Broadway in 2008, where it was produced by Roundabout Theatre Company and Studio 54. As a limited engagement, previews started on January 25, 2008, with an opening on February 21, 2008, running through June 29 (reflecting three extensions).[18]
Daniel Evans and Jenna Russell (who starred in the 2005-6 London production) reprised their roles with Sam Buntrock directing, musical staging by Christopher Gattelli, set and costume design by David Farley, projection design by Timothy Bird and the Knifedge Creative Network, lighting design by Ken Billington, music supervision by Caroline Humphris, orchestrations by Jason Carr and sound design by Sebastian Frost. The cast included Michael Cumpsty (Jules/Bob), Jessica Molaskey (Yvonne/Naomi), Ed Dixon (Mr./Charles Redmond), Mary Beth Peil (Old Lady/Blair), Alexander Gemignani (Boatman/Dennis), and David Turner (Franz/Lee Randolph).[19]
Reviewers praised the script and score as well as the innovative design and the entire cast. Ben Brantley wrote in The New York Times, "The great gift of this production, first staged in London two years ago, is its quiet insistence that looking is the art by which all people shape their lives....a familiar show shimmers with a new humanity and clarity that make theatergoers see it with virgin eyes. And while Sunday remains a lopsided piece—pairing a near-perfect, self-contained first act with a lumpier, less assured second half—this production goes further than any I’ve seen in justifying the second act’s existence."[20] As described in The New York Times, "In [Buntrock's] intimate production, live actors talk to projections, scenery darkens as day turns into night, and animation seamlessly blends into the background...In this new version, thanks to 3-D animation, the painting, currently the crown jewel of the Art Institute of Chicago, slowly comes together onstage. A sketch emerges, then color is added, and the rest gradually comes into focus, piece by piece."[21]
The Broadway production received five Outer Critics Circle Award nominations, three Drama League Award nominations and seven Drama Desk Award nominations including Outstanding Revival of a Musical, Outstanding Actor and Actress in a Musical and Outstanding Director of a Musical. Russell and Evans also received Tony Award nominations for their performances. At the Tony Awards, Russell and Evans performed the song "Move On."
2017 Broadway revival[edit]
The show was performed in a four-performance concert version as part of New York City Center's 2016 Gala on October 24–26, 2016. Jake Gyllenhaal starred as George opposite Annaleigh Ashford as Dot/Marie.[22][23]
Based on the concert's reception, a limited-run revival was presented on Broadway at the Hudson Theatre. Previews began on February 11, 2017, and the production opened on February 23 to glowing reviews.[24] In addition to Gyllenhaal and Ashford, it featured Brooks Ashmanskas (Mr./Charles), Phillip Boykin (Boatman/Lee), Claybourne Elder (Soldier/Alex), Liz McCartney (Mrs./Harriet), Ruthie Ann Miles (Frieda/Betty), David Turner (Franz/Dennis), Jordan Gelber (Louis/Billy), Erin Davie (Yvonne/Naomi), Penny Fuller (Old Lady/Blair), and Robert Sean Leonard (Jules/Bob).[25] The production team included James Lapine's niece Sarna Lapine (director), Ann Yee (musical staging), Beowulf Boritt (scenic design), Clint Ramos (costume design), and Ken Billington (lighting design). The producers withdrew the production from Tony Award consideration for the 2016–17 season due to its limited run, which closed on April 23.[26]
The production was scheduled to transfer to the West End at the Savoy Theatre in 2021, after a delay caused by the COVID-19 pandemic, also starring Gyllenhaal and Ashford and directed by Lapine. The production was again delayed due to the COVID-19 pandemic with no new date given, and as of the end of 2023 has not yet happened or been rescheduled.[27][28][29]
Other productions[edit]
As part of the Kennedy Center Sondheim Celebration, the musical was presented in the Eisenhower Theatre from May 31, 2002, to June 28, 2002. Directed by Eric D. Schaeffer, the cast featured Raúl Esparza in the titular roles, Melissa Errico as Dot/Marie, and original Broadway cast member Cris Groenendaal as Jules/Bob Greenberg.
This play is of special significance for Chicago in that Seurat's masterpiece, the backdrop of the play, hangs in the Art Institute of Chicago. The Chicago Shakespeare Theater presented the musical in 2002, directed by Gary Griffin in the more intimate, 200 seat, Upstairs Theater. In September 2012, Griffin returned to direct the play in the larger downstairs Courtyard Theater. The lead roles were played by Jason Danieley as George, Carmen Cusack as Dot, and Linda Stephens as the Old Lady.[30]
The Ravinia Festival in Highland Park, Illinois, presented a semi-staged production for three shows from September 3 to 4, 2004, with Michael Cerveris in the title roles, Audra McDonald as Dot/Marie, and Patti LuPone as Yvonne/Blair Daniels. It was directed by Lonny Price.[31] New Line Theatre in St. Louis produced the show in 2004.[32]
The team responsible for the London revival mounted a production in April 2009 at Seattle's 5th Avenue Theatre, featuring Hugh Panaro as the title roles, Billie Wildrick as Dot/Marie, Patti Cohenour as Yvonne/Naomi, Anne Allgood as Harriet/Nurse/Mrs, and Allen Fitzpatrick as Jules/Bob.[33]
From April 15 through 25, 2013, the musical was performed in the English language at the Théâtre du Châtelet in Paris, directed by Lee Blakeley featuring the Orchestre Philharmonique de Radio France led by David Charles Abell. George was played by Julian Ovenden. Dot/Marie was played by Sophie-Louise Dann. For this occasion, Michael Starobin reworked his musical arrangements, which were originally tailored to an 11-piece chamber orchestra, to match a full orchestra.[34] The production was taped for radio and TV and has been frequently broadcast in the French Mezzo HD channel which usually only rebroadcasts in-house productions of classical music, opera and jazz that were first presented live on its sister channel Mezzo Live HD.
The 2017 Broadway revival production was presented in 2023 at Pasadena Playhouse, reuniting the production team (including director Sarna Lapine and costume designer Clint Ramos), starring Graham Phillips and Krystina Alabado.[35]
Television and video[edit]
Sunday in the Park with George was taped on October 21–25, 1985, at the Booth Theatre with the original Broadway cast except for Kurt Knudson and Danielle Ferland, whose roles were played by Frank Kopyc and Natalie Polizzi. It was broadcast on American television on February 18, 1986, on Showtime and on June 16, 1986, on PBS's American Playhouse. (Bernadette Peters, who was performing in Song and Dance at the time of the taping, was given time off from that play to tape this production.[38]) Warner Home Video released the recording on VHS on April 1, 1992; Image Entertainment released the DVD and laserdisc on March 23, 1999. The DVD includes full-length commentary by Sondheim, Lapine, Patinkin, and Peters.
An audio registration of the 2013 Paris production at the Théâtre du Châtelet was broadcast on Radio France, a video registration on TV channel Mezzo TV.
A number of Desperate Housewives episodes take their names from songs or lyrics from the musical. These are episodes 1.11 - "Move On," 1.21 - "Sunday in the Park with George," 2.7 - "Color and Light," 3.20 - "Gossip", 4.5 - "Art Isn't Easy," 4.11 - "A Vision's Just a Vision," 5.10 - "Sunday," 5.14 - "Chromolume No. 7," 8.5 - "The Art of Making Art," 8.9 - "Putting it Together," and 8.23 - "Finishing the Hat".
Cast recordings[edit]
The 1984 original Broadway cast recording was released by RCA, with a remastered version released in March 2007 (ASIN: B0009A40KW). Produced by Thomas Z. Shepard, the recording won the 1984 Grammy Award for Best Cast Show Album.[39]
The 2005 London revival cast recording was released by PS Classics (2 disc set) on May 30, 2006 (ASIN: B000EZ9048). The most complete recording of the score to date, it contains a bonus track, the original, extended version of the cut "soldier song",[40] "The One on the Left"—of which only a fraction survives in the final show—performed by the production's Soldier and Celestes (Christopher Colley, Sarah French-Ellis and Kaisa Hammarlund).[41]
The 2017 Broadway revival cast recording was released by Warner Music Group.[42]