Sunday In The Park With George
November 6, 2021 5:55 AM Subscribe
Stephen Sondheim was ready to quit Broadway. The failure of Merrily We Roll Along, his first real flop in nearly 20 years, left him cold toward creating more art. Until James Lapine showed him one particular painting, which became a topic of conversation and eventually led to the creation of Sunday In The Park With George. A mammoth work, it won the Pulitzer Prize for Drama. Here is the original 1984 Broadway cast of Sunday In The Park With George [2h25m].
This most-intricate of all Sondheim musicals must, of course, come with creation myths. Playbill has How Sondheim and Lapine Made a Masterpiece with Sunday in the Park With George gets into the evolution of the show as it came into being, and Living In The Canvas: The Creation Of Sunday In The Park With George. Huntington Theater's article Living In The Canvas: The Creation Of Sunday In The Park With George gets a bit more into the technical aspects of the show. Suffice it to say, this show was different from previous Sondheim shows on a lot of levels. Perhaps freed after Merrily's failure, he was making new discoveries.
Oh, and I have found the 1984 Broadway production subtitled in Spanish. For those who would appreciate that kind of thing.
A found oddity is this "Score-Video" of the show. It combines the musical score with the entirety of the show. It's hard to describe, but for those who appreciate musical notation for shows, this is a very interesting format, and I recommend.
And, before we leave that original production... The DVD Commentary version of the show, with Mandy Patinkin, Bernadette Peters, Stephen Sondheim, and James Lapine from 1999. For those etc etc. [It is oh so delicious.]
All these videos run the length of the original show video.
Sunday opened in London in 1990. Here's a television special with interviews and showing the production coming together [48m] that's pretty interesting. Insights and glimpses of a different staging of the show. [The video has occasional half-second pauses in it, annoying but still watchable.]
There was a Sunday In The Park reunion event in 1994. This is an audience video [2h20m], and it's everything you'd expect. Fun, fun, and celebratory fun!
2013 saw a production in Paris with a full philharmonic orchestra [2h23m], which was filmed and is frequently rebroadcast in France. It's a full production, only the second I've ever seen, and it's really great. [The reworking of the score for a full orchestra is fabulous!] This has French subtitles, for those who would appreciate that.
2017 saw the second Broadway revival of Sunday, starring Jake Cyllenhaal and Annaleigh Ashford. The Cast Album is available as a YouTube playlist.
2021 is a remarkable year, because not only did Stars In The House do 1h21m with Peters and Lapine talking about the show, but also Lapine put out a book about the show this year. That book release led to Sunday At The Getty With James: The Making Of Sunday In The Park With George [1h16m], an interview with Lapine and Sondheim about the show [From Sept of this year, and Sondheim (at 91) seems in good health. Yay!]. Also an Author Event with Lapine [57m] is a good watch.
But really, if there is one piece of this ancillary material you must watch, it's Poetry In America Season 2, Episode 5: Finishing The Hat [Vimeo link, 27m]. It examines the themes of the show entirely through the lens of one piece, and that one piece is probably one of Sondheim's most personal expressions of his craft.
This most-intricate of all Sondheim musicals must, of course, come with creation myths. Playbill has How Sondheim and Lapine Made a Masterpiece with Sunday in the Park With George gets into the evolution of the show as it came into being, and Living In The Canvas: The Creation Of Sunday In The Park With George. Huntington Theater's article Living In The Canvas: The Creation Of Sunday In The Park With George gets a bit more into the technical aspects of the show. Suffice it to say, this show was different from previous Sondheim shows on a lot of levels. Perhaps freed after Merrily's failure, he was making new discoveries.
Oh, and I have found the 1984 Broadway production subtitled in Spanish. For those who would appreciate that kind of thing.
A found oddity is this "Score-Video" of the show. It combines the musical score with the entirety of the show. It's hard to describe, but for those who appreciate musical notation for shows, this is a very interesting format, and I recommend.
And, before we leave that original production... The DVD Commentary version of the show, with Mandy Patinkin, Bernadette Peters, Stephen Sondheim, and James Lapine from 1999. For those etc etc. [It is oh so delicious.]
All these videos run the length of the original show video.
Sunday opened in London in 1990. Here's a television special with interviews and showing the production coming together [48m] that's pretty interesting. Insights and glimpses of a different staging of the show. [The video has occasional half-second pauses in it, annoying but still watchable.]
There was a Sunday In The Park reunion event in 1994. This is an audience video [2h20m], and it's everything you'd expect. Fun, fun, and celebratory fun!
2013 saw a production in Paris with a full philharmonic orchestra [2h23m], which was filmed and is frequently rebroadcast in France. It's a full production, only the second I've ever seen, and it's really great. [The reworking of the score for a full orchestra is fabulous!] This has French subtitles, for those who would appreciate that.
2017 saw the second Broadway revival of Sunday, starring Jake Cyllenhaal and Annaleigh Ashford. The Cast Album is available as a YouTube playlist.
2021 is a remarkable year, because not only did Stars In The House do 1h21m with Peters and Lapine talking about the show, but also Lapine put out a book about the show this year. That book release led to Sunday At The Getty With James: The Making Of Sunday In The Park With George [1h16m], an interview with Lapine and Sondheim about the show [From Sept of this year, and Sondheim (at 91) seems in good health. Yay!]. Also an Author Event with Lapine [57m] is a good watch.
But really, if there is one piece of this ancillary material you must watch, it's Poetry In America Season 2, Episode 5: Finishing The Hat [Vimeo link, 27m]. It examines the themes of the show entirely through the lens of one piece, and that one piece is probably one of Sondheim's most personal expressions of his craft.
Okay, here is my dream. I'll say it here, since I am in no way able to pitch movies to Pixar. Pixar should make this into a movie. George Seurat was the orginal pixel-ist. It would have the most fantastic soundtrack and a near-Fantasia possibility of imaginings on screen.
posted by dances_with_sneetches at 6:57 AM on November 6, 2021 [6 favorites]
posted by dances_with_sneetches at 6:57 AM on November 6, 2021 [6 favorites]
Oh, man. I'm going to get in trouble with this.
I saw the PBS broadcast of this when I was a teenager and not only loved it, I thought: "I could love musicals." (Turns out I just could love Sondheim; my general view that musicals were okay but not really for me never changed.)
But over the years, I've found this one frustrating. Its ambition is so immense, its premise so enticing, that it needs to be a masterpiece to succeed, and I don't think it's a masterpiece.
For one thing, if we're going to step into the painting and look in on these people, we should learn something interesting about them. They should come to life. But what we learn is pretty thin stuff — the Boatman is gruff, the servants flirt with the soldiers, gosh. At the end of Act 1 when the characters all reassemble for the painting, we should feel some awe at the chorus of humanity being composed into one image. But for me they are still as flat as playing cards.
Then there's Act 2. If we're going to jump forward two generations, we should gain some new layer of illumination. But like the modern George's laser piece, it just fizzles for me.
The thing is, I think Sondheim and Lapine know this. They put in an artist who reaches for the big leap forward but fails; who feels trapped by the past we saw in Act 1; who is being criticized for spinning his wheels and lacking connection — in short, we get a portrait of Sondheim and Lapine struggling to make this act need to exist. In the end, they bail out the act with cameos from the past, then leave us with a blank canvas — "so many possibilities." It's a cop-out.
I think the real problem is not just Sondheim's famous meticulousness, which does get him into trouble, but also his ability to rationally talk his way out of the corner he's put himself in. I've read all of Sondheim's rationales about why Act 2 is right and necessary, and he's charming and earnest and persuasive. But then I go back to actually watch it, and it's still a big fizzle.
In fact Sondheim, famous as a puzzle lover, adds so many contingencies and givens and layers to his work that when he reaches a point when he needs to really break through and find something inexplicable and beautiful and surprising, he can't — he's hemmed in.
I'm still glad this musical exists, because it takes huge risks. But I can't pretend the risks really paid off for me, despite a few beautiful numbers and imagery.
posted by argybarg at 7:15 AM on November 6, 2021 [10 favorites]
I saw the PBS broadcast of this when I was a teenager and not only loved it, I thought: "I could love musicals." (Turns out I just could love Sondheim; my general view that musicals were okay but not really for me never changed.)
But over the years, I've found this one frustrating. Its ambition is so immense, its premise so enticing, that it needs to be a masterpiece to succeed, and I don't think it's a masterpiece.
For one thing, if we're going to step into the painting and look in on these people, we should learn something interesting about them. They should come to life. But what we learn is pretty thin stuff — the Boatman is gruff, the servants flirt with the soldiers, gosh. At the end of Act 1 when the characters all reassemble for the painting, we should feel some awe at the chorus of humanity being composed into one image. But for me they are still as flat as playing cards.
Then there's Act 2. If we're going to jump forward two generations, we should gain some new layer of illumination. But like the modern George's laser piece, it just fizzles for me.
The thing is, I think Sondheim and Lapine know this. They put in an artist who reaches for the big leap forward but fails; who feels trapped by the past we saw in Act 1; who is being criticized for spinning his wheels and lacking connection — in short, we get a portrait of Sondheim and Lapine struggling to make this act need to exist. In the end, they bail out the act with cameos from the past, then leave us with a blank canvas — "so many possibilities." It's a cop-out.
I think the real problem is not just Sondheim's famous meticulousness, which does get him into trouble, but also his ability to rationally talk his way out of the corner he's put himself in. I've read all of Sondheim's rationales about why Act 2 is right and necessary, and he's charming and earnest and persuasive. But then I go back to actually watch it, and it's still a big fizzle.
In fact Sondheim, famous as a puzzle lover, adds so many contingencies and givens and layers to his work that when he reaches a point when he needs to really break through and find something inexplicable and beautiful and surprising, he can't — he's hemmed in.
I'm still glad this musical exists, because it takes huge risks. But I can't pretend the risks really paid off for me, despite a few beautiful numbers and imagery.
posted by argybarg at 7:15 AM on November 6, 2021 [10 favorites]
I will admit I think of Sunday in the Park with George as one of the world's truly great one-act musicals. If I'd left at intermission the first time I saw it, it would probably be one of my all-time favorites.
(As a side note, I finally got around to watching Evening Primrose, and as one of the few remaining huge fans of John Collier, I am SERIOUSLY IRRITATED by the changes made to the original story. I'd rant if I thought anybody cared.)
Anyway, still think Sondheim is the greatest musical theater genius of all time.
posted by kyrademon at 8:03 AM on November 6, 2021 [2 favorites]
(As a side note, I finally got around to watching Evening Primrose, and as one of the few remaining huge fans of John Collier, I am SERIOUSLY IRRITATED by the changes made to the original story. I'd rant if I thought anybody cared.)
Anyway, still think Sondheim is the greatest musical theater genius of all time.
posted by kyrademon at 8:03 AM on November 6, 2021 [2 favorites]
There's also something slightly ominous, or at least mysterious, about the painting itself. The figures are marching into the water, like a procession. Everyone but the girl is in shadow or turned away, and the girls stares at with just a suggestion of a face. There's a monkey on a leash. It was set in the part of the park where the prostitutes fished for their clients (hence the woman fishing). It all feels distant and silent, not pastoral and pretty or nostalgic.
I don't think the musical really captures those undertones, or even tries. Again, the fact that I wish for so much from this musical is a sign, for me, that Sondheim and Lapine took all the right risks, so I salute them for that.
posted by argybarg at 8:27 AM on November 6, 2021 [3 favorites]
I don't think the musical really captures those undertones, or even tries. Again, the fact that I wish for so much from this musical is a sign, for me, that Sondheim and Lapine took all the right risks, so I salute them for that.
posted by argybarg at 8:27 AM on November 6, 2021 [3 favorites]
I did this show in undergrad circa 1989. Always thought the second act was meh.
posted by slkinsey at 8:49 AM on November 6, 2021
posted by slkinsey at 8:49 AM on November 6, 2021
James Lapine recently published "Putting It Together: How Stephen Sondheim and I Created "Sunday in the Park with George". It's a little bit memoir, and a lot of oral history/interviews with cast and creative team.
posted by dnash at 9:11 AM on November 6, 2021
posted by dnash at 9:11 AM on November 6, 2021
I stopped watching this musical after the first time I saw it.
Got to "Children and Art" and was just one thousand percent done. That song is an abomination.
posted by humbug at 9:25 AM on November 6, 2021
Got to "Children and Art" and was just one thousand percent done. That song is an abomination.
posted by humbug at 9:25 AM on November 6, 2021
Daniel Ingram did a parody of "Putting It Together" for My Little Pony: Friendship is Magic. The Art of the Dress.
posted by SPrintF at 9:46 AM on November 6, 2021
posted by SPrintF at 9:46 AM on November 6, 2021
My intro to this musical was Barbra Streisand's cover of Putting It Together, which my mother had on a cassette tape. Impressionism is not my jam, and I bounced off the musical - and feel bad about that because I get the sense that Sunday is one of Sondheim's favorites. But I do really like that cover.
posted by mersen at 10:59 AM on November 6, 2021
posted by mersen at 10:59 AM on November 6, 2021
I love so much of Sondheim's work, but Sunday is the one that gives me shivers, every time.
There are so many lines and bits of verses that stay in my head, that feel like they land perfectly and feel just right every time I hear them.
And I love that it's given me a deeper love for the painting, which I was lucky enough to see in person several times (I grew up in the suburbs of Chicago, and annual school field trips to the Art Institute were common).
I've had the DVD forever, but I am really excited to dig into all the great videos you linked, hippybear - I've already started watching the score-video and it's SO COOL. Thank you for posting that!
I feel so lucky to be alive at a time when Sondheim's been creating such moving, beautiful work.
Thank you so much for posting this, hippybear - it's such a joy to reconnect with things I love like this.
posted by kristi at 12:09 PM on November 6, 2021 [1 favorite]
There are so many lines and bits of verses that stay in my head, that feel like they land perfectly and feel just right every time I hear them.
And I love that it's given me a deeper love for the painting, which I was lucky enough to see in person several times (I grew up in the suburbs of Chicago, and annual school field trips to the Art Institute were common).
I've had the DVD forever, but I am really excited to dig into all the great videos you linked, hippybear - I've already started watching the score-video and it's SO COOL. Thank you for posting that!
I feel so lucky to be alive at a time when Sondheim's been creating such moving, beautiful work.
Thank you so much for posting this, hippybear - it's such a joy to reconnect with things I love like this.
posted by kristi at 12:09 PM on November 6, 2021 [1 favorite]
All I know is that when I saw the version on PBS years ago, there was one line that succinctly summoned up art for me - (paraphrase) I made a hat, where there wasn’t a hat. And just that line has stuck with me regarding art in general, it’s magic, artists make hats, etc. where there weren’t any hats, etc.
posted by njohnson23 at 12:14 PM on November 6, 2021 [3 favorites]
posted by njohnson23 at 12:14 PM on November 6, 2021 [3 favorites]
I understand the criticisms, but Sunday is forever going to be one of those works that affects me emotionally whenever I think about it, or hear any one of the tunes, or see an image of the painting. I was alone at my parents' place over a weekend back during my college days in Chicago when this was aired on PBS, and I thought, "Eh, why not, looks interesting," not in any way expecting to be so moved by it, nor to instantly become such a fan of Sondheim.
posted by vverse23 at 12:27 PM on November 6, 2021 [1 favorite]
posted by vverse23 at 12:27 PM on November 6, 2021 [1 favorite]
(Also, hippybear - thank you for adding the running times to your video links! It makes it so easy for me to pick whichever thing I have time for. You're the best!)
posted by kristi at 12:40 PM on November 6, 2021 [3 favorites]
posted by kristi at 12:40 PM on November 6, 2021 [3 favorites]
And, okay, I've taken a first glance at that excellent Poetry in America link, and they have little brief clips of what appears to be the 2002 Kennedy Center production with Raul Esparza, so I did a little search for sunday george esparza on Youtube, and it looks like there are a few audience clips. I wish there were a complete video of that production online - I bet it was amazing.
posted by kristi at 1:15 PM on November 6, 2021 [1 favorite]
posted by kristi at 1:15 PM on November 6, 2021 [1 favorite]
I got to see "Sunday" during its original run, and the end of the first act is one of the most memorable moments of my life.
posted by underthehat at 7:49 PM on November 6, 2021
posted by underthehat at 7:49 PM on November 6, 2021
The end of the first act made me burst into tears when I saw the 2017 revival. I don't like to listen to cast albums of musicals I haven't seen so I had no idea what was coming.
posted by Mavri at 5:22 PM on November 7, 2021 [1 favorite]
posted by Mavri at 5:22 PM on November 7, 2021 [1 favorite]
I think I'd suggest to maybe watching the Mezzo (French) production if you're only familiar with the original filmed production. It's different, but the same. The characterizations are different, and the set is quite different, and it has a different emotional taste. I found it very enlightening about the original piece when I watched it, admittedly for the first time while putting together this post.
I wish I had more filmings to offer. I think there's insight to be gained when seeing different productions.
posted by hippybear at 8:57 PM on November 8, 2021 [1 favorite]
I wish I had more filmings to offer. I think there's insight to be gained when seeing different productions.
posted by hippybear at 8:57 PM on November 8, 2021 [1 favorite]
I have thought that it would do interesting things to the dynamics in Act 2 to have Marie played by the Old Woman (George's mother) from Act 1, and have Dot play the ExWife. It actually plays out the Move On dynamic much more, opens up George's world beyond this one relationship, and avoids the need for old age makeup.
During the copious "sitting still on stage" time I had when I was in the show, I think it's easentially in the text that Dot would be ADHD diagnosable, and you can easily read/play George as on the Autism Spectrum, which puts quite a different spin on their inability to figure out how to be with each other.
I saw clips once of a production where the set was all white and they used animated projections for Soldier 2 and to bring the painting to life more broadly. I think, if they ever made a movie, they would need to Roger Rabbit it to make it work at all.
posted by DebetEsse at 1:58 PM on November 9, 2021 [1 favorite]
During the copious "sitting still on stage" time I had when I was in the show, I think it's easentially in the text that Dot would be ADHD diagnosable, and you can easily read/play George as on the Autism Spectrum, which puts quite a different spin on their inability to figure out how to be with each other.
I saw clips once of a production where the set was all white and they used animated projections for Soldier 2 and to bring the painting to life more broadly. I think, if they ever made a movie, they would need to Roger Rabbit it to make it work at all.
posted by DebetEsse at 1:58 PM on November 9, 2021 [1 favorite]
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