Sunday in the Park Revival Sparkles...Literally

I was worried that when I saw the Roundabout Theater revival of Sunday in the Park with George the show wouldn't live up to the admittedly glorified hindsight of when I saw this particular production in London. (See my review.) My experience there was so profound that the Broadway bow couldn't help paling in comparison.

And I must admit that the New York version, at first, didn't quite live up to my revisionist recollection, although the production as a whole remains visually dazzling and emotionally rich. Studio 54 feels so much more cavernous than Wyndham's Theater, where the show played in London, although the former isn't really that much bigger in terms of seats. This impression of size took away some of the warmth and humor that I recall vividly.

Although I was somewhat disengaged during most of the first half, things warmed up considerably toward the end. London stars Jenna Russell and Daniel Evans repeat their duties as Dot and George, respectively. Russell won me over right away with her impish sense of mischief, but Evans took a bit longer to bring George to life, something he managed to do much sooner across the pond. Fortunately, everything came together in the most affecting number in the first half, "We Do Not Belong Together." Both Russell and Evans created a palpable sense of loss, and I was thrilled finally to be emotionally involved.

Director Sam Buntrock employs numerous evocative touches, particularly in the staging of the act 1 finale, that really brought to focus how this emotionally shut-off man was trying to connect with the world and the people around him: through his art. (Although, after Michael Riedel's recent column, I'm not sure whom to credit with the actual direction of the show.)

After intermission, things became much more engrossing, especially "Children and Art." Maybe it's because, since the last time I saw this show, my own grandmother passed away, and I was continually reminded of her as Russell performed this powerful number. Evans matched her ably in delivering "Lesson #8," the last number written for the show. Out of context, this number seems bland, but within the arc of the show, it's a stirring epiphany for the George character as he realizes what he's lost and is beginning to comprehend what he wants.

I've always been rather nonplussed by people who say that they like Sunday, but only the first half. Well, then you don't really like Sunday, because the whole point of the show is how this man learns to connect with the world and the people around him, and he doesn't achieve that connection until the end of the show. So, you can't just like Act 1. (Pedantic? Dogmatic? I can live with that.)

Fortunately, we all have a chance to see both halves of this first-rate production, which runs until June 15th. Anyone who's never seen the show before, or indeed this version, will likely still find it an eye-opening experience. It's not quite as dramatic as the recent revival of Cabaret, in terms of bringing the piece to its true fruition. But this Sunday remains a startling example of how even the most iconic shows can receive a fresh, shall we say, coat of paint, even if it is with the (alleged) able assistance of the original director.

Be sure to check back later in the week for my reviews of the critically acclaimed Off-Broadway musical Adding Machine and the new Broadway revival of Gypsy with Patti LuPone.

Comments

[Steve On Broadway (SOB)]

Chris, Given how much your initial London review struck a chord with me, I was eager to learn how you thought it compared.

I loved the production, and were it not for the truly lousy seats I had at Studio 54, I may have felt more engaged during the Second Act, which I agree is ultimately much better than many given it credit for.