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A fresh brushstroke on a Sondheim classic.Summary
Rating
Good
Sunday in the Park with George offers a fictionalised glimpse into the life of painter Georges Seurat as he creates his masterpiece, ‘A Sunday Afternoon on the Island of La Grande Jatte’. This production by amateur company Sedos, directed by Robert J. Stanex and performed in Wheatsheaf Hall, brings Stephen Sondheim and James Lapine‘s 1984 musical to life with mixed results.
The plot follows Seurat’s struggles as an artist, juggling his devotion to his work with his relationship with his lover and model, Dot (Sadie Kempner). We watch as George (Will de Renzy-Martin) becomes increasingly obsessed with his painting, pushing away those closest to him in pursuit of his artistic vision. Act 2 jumps forward 100 years, where history repeats itself as Seurat’s great-grandson, also named George, unveils his latest work, ‘Chromolume #7’.
At its best, this production successfully captures the essence of Sondheim’s work. There are moments when the acting, music, and set design come together beautifully, creating an emotional and touching experience. The performance of ‘Sunday’ at the end of Act 1 stands out as a highlight, deserving high praise for its ability to transport the audience into Seurat’s world.
The cast’s performances are generally strong. Kempner as Dot shines in her role, demonstrating impressive movement that syncs perfectly with the musical cues. The entire cast’s physicality is noteworthy, bringing energy and precision to their performances. Rob Levy‘s portrayal of the Boatman is particularly intense, creating genuine tension in his confrontations with George.
Act 2 starts strong with ‘It’s Hot Up Here’, featuring solid singing and movement that reinvigorates the audience after the intermission. However, the second act struggles to maintain this momentum and lacks the emotional depth of the first.
The most significant issue lies in the balance between the orchestra and the singers. While the musicians perform admirably, they often overpower the vocalists, making it difficult to follow the story through the lyrics. Many cast members struggle to project their voices clearly over the music, which is crucial in a show where the lyrics carry so much of the narrative and emotional weight.
Like the original, this adaptation occasionally feels pretentious, a criticism that has followed the show since its debut. The exploration of art, legacy, and creative struggle can sometimes come across as self-indulgent, and George often feels too narcissistic to be sympathetic, which can make the production alienating at times.
The visual elements have their ups and downs. The reveal of ‘Chromolume #7’ in Act 2 feels underwhelming, with performers simply donning glasses and acting impressed rather than utilising a more creative or technologically impressive approach. However, the ending achieves a sense of triumph as a copy of Seurat’s painting is revealed and the subjects of the artwork retake their places, creating a satisfying visual parallel to the show’s themes.
Despite its shortcomings, the production remains an enjoyable experience. It’s a brave attempt to tackle a challenging piece of musical theatre, and the cast and crew’s dedication and passion is evident throughout. The moments when everything clicks are truly special, offering glimpses of the brilliance that has made Sunday in the Park with George a beloved part of the musical theatre canon.
For fans of Sondheim or those interested in a thought-provoking night at the theatre, this production is worth seeing. While it may not fully realise the potential of the source material, it offers enough captivating moments and strong performances to make for an engaging evening.
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Directed by: Robert J. Stanex
Produced by: Rebecca Chisholm
Musical director: Isaac Bartels
Sunday in the Park with George plays at Wheatsheaf Hall until 29th July, with two additional nights at the Thorington Theatre on Sundays 28th July & 4th August.
Further information and booking can be found here.
