Cabaret Scenes Theatre Review - Sunday in the Park With George

"Art isn't easy." Consider Georges Seurat, who died at age 31, never having sold a painting. His great grandson, George, a century later, battled the politics of the art world, trying to find his place.

Director Sam Buntrock brings the 21st century to Studio 54 with Roundabout's revival of the imaginative and emotional, Stephen Sondheim-James Lapine musical, Sunday in the Park with George. Not only do Daniel Evans and Jenna Russell add their own well-rounded interpretations to the roles of Georges Seurat and his mistress Dot, but there is a third lead here—technology.

Sunday in the Park spans one century with one intermission. Act One in Paris, is the vision of Georges Seurat balancing art and love. Act Two in America concerns his great-grandson, a multi-media artist who faces his own challenges expressed in "Putting it Together," which refers not only to the art but also to the art world:

"Having just a vision's no solution/ Everything depends on execution/ Putting it together, that's what counts!"

In this production, digitalized animation actually has an inherent purpose. The opening set is a blank canvas. "So many possibilities" for an artist like Seurat. Suddenly a charcoal line streaks across the wall, then dots of color spackle in the pattern. People and dogs emerge, trees are erased and returned, and boats float on the river. At the side, Seurat painstakingly labors at his painting, oblivious to all, including his mother and his mistress/model/muse Dot. The stunning first act finale shows George positioning and repositioning the characters, until finally, "A Sunday Afternoon on the Island of La Grand Jatte" is before us, the ensemble in harmony for the lovely "Sunday" before they freeze into the familiar painting.

In the second act a century later, the digital animations are even more obvious, often more awe-inspiring. Seurat's pointillist vision on canvas evolved into his great-grandson George's whirling digitalizations, animations, holographs. We see several instances of George interacting with an image of himself, once even pouring champagne into a glass held by his projected image. It is clever, witty and yes, relevant.

As provocative as the sophisticated animation is, most important is the complex, engrossing story punctuated by the pattern of musical phrases. Evans and Russell, both formidable singers and actors, deliver intense performances. Russell brings to Dot the earthy sharp sensuality of a grown woman with plucky humor. Dot's struggle with Evan's cerebral Seurat is palpable. Her need for intimacy and his aloofness drive them apart. Even the birth of their daughter, Marie, cannot break his artistic focus. Evans plays both Georges, displaying a chill and vulnerability:

"Finishing the hat—how you have to finish the hat.
How you watch the rest of the world from a window
while you finish the hat."

In the second act, Russell plays Seurat's aged daughter, Marie, with the same spirit in a fading body. Marie is the only connection modern George has with his legendary grandfather. She tells her troubled grandson in "Children and Art" that, "It's not so much do what you like, as it is that you like what you do." This message of satisfaction, some might call it happiness, slices to the core of this show. George finally finds his grounding in the lyrics of "Move On,"—"Anything you do/ Let it come from you/Then it will be new."

Supporting characters play different roles in the two acts. The delightful Mary Beth Peil plays Seurat's hypercritical mother in Act One. They have a lovely moment together, singing the nostalgic "Beautiful." Also notable are Michael Cumpsty, Jessica Molaskey and Alexander Gemignani.

Buntrock, director and animator, paces this show with a clear point of view, hiding the painstaking details. He uses Timothy Bird and The Knifebridge Creative Network for the stunning effects, and Christopher Gattelli for the complex staging. Ken Bellington designed the lighting, and David Farley created a set to display the different art forms; he also designed the 1880's constrictive, elaborate costumes, as well as the hip looseness of the 1980's. Surprisingly for this full rich score, the orchestra includes only five musicians.

Dot dot dash to enjoy an inspiring Sunday in the Park with George.

Elizabeth Ahlfors
Cabaret Scenes
February 23, 2008
www.cabaretscenes.org



	Sunday in the Park With George Studio 54 New York, NY
"Art isn't easy." Consider Georges Seurat, who died at age 31, never having sold a painting. His great grandson, George, a century later, battled the politics of the art world, trying to find his place. Director Sam Buntrock brings the 21st century to Studio 54 with Roundabout's revival of the imaginative and emotional, Stephen Sondheim-James Lapine musical, Sunday in the Park with George. Not only do Daniel Evans and Jenna Russell add their own well-rounded interpretations to the roles of Georges Seurat and his mistress Dot, but there is a third lead here—technology. Sunday in the Park spans one century with one intermission. Act One in Paris, is the vision of Georges Seurat balancing art and love. Act Two in America concerns his great-grandson, a multi-media artist who faces his own challenges expressed in "Putting it Together," which refers not only to the art but also to the art world: "Having just a vision's no solution/ Everything depends on execution/ Putting it together, that's what counts!" In this production, digitalized animation actually has an inherent purpose. The opening set is a blank canvas. "So many possibilities" for an artist like Seurat. Suddenly a charcoal line streaks across the wall, then dots of color spackle in the pattern. People and dogs emerge, trees are erased and returned, and boats float on the river. At the side, Seurat painstakingly labors at his painting, oblivious to all, including his mother and his mistress/model/muse Dot. The stunning first act finale shows George positioning and repositioning the characters, until finally, "A Sunday Afternoon on the Island of La Grand Jatte" is before us, the ensemble in harmony for the lovely "Sunday" before they freeze into the familiar painting. In the second act a century later, the digital animations are even more obvious, often more awe-inspiring. Seurat's pointillist vision on canvas evolved into his great-grandson George's whirling digitalizations, animations, holographs. We see several instances of George interacting with an image of himself, once even pouring champagne into a glass held by his projected image. It is clever, witty and yes, relevant. As provocative as the sophisticated animation is, most important is the complex, engrossing story punctuated by the pattern of musical phrases. Evans and Russell, both formidable singers and actors, deliver intense performances. Russell brings to Dot the earthy sharp sensuality of a grown woman with plucky humor. Dot's struggle with Evan's cerebral Seurat is palpable. Her need for intimacy and his aloofness drive them apart. Even the birth of their daughter, Marie, cannot break his artistic focus. Evans plays both Georges, displaying a chill and vulnerability: "Finishing the hat—how you have to finish the hat. How you watch the rest of the world from a window while you finish the hat." In the second act, Russell plays Seurat's aged daughter, Marie, with the same spirit in a fading body. Marie is the only connection modern George has with his legendary grandfather. She tells her troubled grandson in "Children and Art" that, "It's not so much do what you like, as it is that you like what you do." This message of satisfaction, some might call it happiness, slices to the core of this show. George finally finds his grounding in the lyrics of "Move On,"—"Anything you do/ Let it come from you/Then it will be new." Supporting characters play different roles in the two acts. The delightful Mary Beth Peil plays Seurat's hypercritical mother in Act One. They have a lovely moment together, singing the nostalgic "Beautiful." Also notable are Michael Cumpsty, Jessica Molaskey and Alexander Gemignani. Buntrock, director and animator, paces this show with a clear point of view, hiding the painstaking details. He uses Timothy Bird and The Knifebridge Creative Network for the stunning effects, and Christopher Gattelli for the complex staging. Ken Bellington designed the lighting, and David Farley created a set to display the different art forms; he also designed the 1880's constrictive, elaborate costumes, as well as the hip looseness of the 1980's. Surprisingly for this full rich score, the orchestra includes only five musicians. Dot dot dash to enjoy an inspiring Sunday in the Park with George. Elizabeth Ahlfors Cabaret Scenes February 23, 2008 www.cabaretscenes.org

Sunday in the Park With George

Studio 54 New York, NY

Studio 54
New York, NY