Musical Spotlight: Sunday in the Park with George by Stephen Sondheim and James Lapine (1985)
Description
After Stephen Sondheim dominated the '70s on Broadway and reshaped American musical theater, he penned a flop titled Merrily We Roll Along (although it has garnered a cult-following with its narrative innovation-- a predecessor to The Last Five Years, perhaps?). His "rebound musical" after Merrily started Off-Broadway with its unconventional plotline. James Lapine and Sondheim were discussing Georges Seurat's famous "A Sunday on the Island of La Grande Jatte," the enormous painting heralded for its excellence in pointillism (AKA divisionism AKA chromoluminarism), when Lapine made the observation that the only person not pictured was the painter himself. The pair began to imagine who Seurat was and what conflicts Seurat faced in his lifetime as a visionary artist in the late 19th century. Hence, Sunday in the Park with George was created.
Act One starts with these words: "White, a blank page or canvas. The challenge: bring order to the whole, through design, composition, tension, balance, light and harmony." The act centers on Seurat's relationship with his mistress who is appropriately named Dot. Seurat works ceaselessly on his painting which would eventually become "A Sunday on the . . .." He faces scrutiny for his work from critics and Dot; his innovative style is questioned and his intense focus on work troubles his relationships with the people he paints. At the end of Act One, Dot leaves Georges after he refuses to accept that she is pregnant with his child. As his life spirals into disarray, he finishes his grand work of art.
Act Two, historically criticized as a weak act (to which I COMPLETELY DISAGREE), is set a century after "A Sunday on the. . ." was created. The main character is the great-grandson of Georges and Dot who is named . . . well . . . George. He is about to reveal his revision of his great-grandfather's work in the form of a light show. George brings his grandmother, Marie, to present the work. Once more, his work is questioned for its unique style. The penultimate song of the show is the magnificent "Move On" wherein 19th-century Dot appears to 20th-century George on the Island of La Grande Jatte. George is reminded of Georges' mantra while he worked. These words were recorded by Dot who decided to overcome her illiteracy. The show ends with these words: "White: a blank page or canvas. His favorite – so many possibilities."
Disclaimer: I have not done any justice to the plot of this show in this general summary.
After Stephen Sondheim dominated the '70s on Broadway and reshaped American musical theater, he penned a flop titled Merrily We Roll Along (although it has garnered a cult-following with its narrative innovation-- a predecessor to The Last Five Years, perhaps?). His "rebound musical" after Merrily started Off-Broadway with its unconventional plotline. James Lapine and Sondheim were discussing Georges Seurat's famous "A Sunday on the Island of La Grande Jatte," the enormous painting heralded for its excellence in pointillism (AKA divisionism AKA chromoluminarism), when Lapine made the observation that the only person not pictured was the painter himself. The pair began to imagine who Seurat was and what conflicts Seurat faced in his lifetime as a visionary artist in the late 19th century. Hence, Sunday in the Park with George was created.Act One starts with these words: "White, a blank page or canvas. The challenge: bring order to the whole, through design, composition, tension, balance, light and harmony." The act centers on Seurat's relationship with his mistress who is appropriately named Dot. Seurat works ceaselessly on his painting which would eventually become "A Sunday on the . . .." He faces scrutiny for his work from critics and Dot; his innovative style is questioned and his intense focus on work troubles his relationships with the people he paints. At the end of Act One, Dot leaves Georges after he refuses to accept that she is pregnant with his child. As his life spirals into disarray, he finishes his grand work of art.
Act Two, historically criticized as a weak act (to which I COMPLETELY DISAGREE), is set a century after "A Sunday on the. . ." was created. The main character is the great-grandson of Georges and Dot who is named . . . well . . . George. He is about to reveal his revision of his great-grandfather's work in the form of a light show. George brings his grandmother, Marie, to present the work. Once more, his work is questioned for its unique style. The penultimate song of the show is the magnificent "Move On" wherein 19th-century Dot appears to 20th-century George on the Island of La Grande Jatte. George is reminded of Georges' mantra while he worked. These words were recorded by Dot who decided to overcome her illiteracy. The show ends with these words: "White: a blank page or canvas. His favorite – so many possibilities."
Disclaimer: I have not done any justice to the plot of this show in this general summary.
Candid Reaction
I bought this album on a whim during my freshman year of college. From the first few measures, I was in awe. Never had I listened to an album so precise in my life. I felt as if I could visualize exactly what was happening. I recognized quickly that the music wasn't just background music, but entirely integral to the character development. I was hooked.
Bernadette Peters and Mandy Patinkin's performances were sensational to me--from the soundtrack alone! When I watched the filmed version of the show (THANK GOD FOR PBS), I was completely satisfied. You know when you have a favorite book and then it gets made into a movie, but the movie version stinks? Yeah, happens all the time. But in this case, the musical show was exactly how I envisioned it to be from the soundtrack.
In my opinion, the show is one of the most important pieces of American art not only for its craftsmanship, but for its perfect commentary on what it means to be an artist and human in times of change.
Top Two Aspects/Reasons for Winning
Bernadette Peters and Mandy Patinkin's performances were sensational to me--from the soundtrack alone! When I watched the filmed version of the show (THANK GOD FOR PBS), I was completely satisfied. You know when you have a favorite book and then it gets made into a movie, but the movie version stinks? Yeah, happens all the time. But in this case, the musical show was exactly how I envisioned it to be from the soundtrack.
In my opinion, the show is one of the most important pieces of American art not only for its craftsmanship, but for its perfect commentary on what it means to be an artist and human in times of change.
Top Two Aspects/Reasons for Winning
1. Capturing the life of the artist
The show depicts the struggle and successes of artists everywhere. The song, "Finishing the Hat" has been identified as a near-perfect summary of the artist's struggles and yearnings.
2. Connection
One of the show's main topics is connection. The painting relies upon the viewer's eye to connect the dots, quite literally, to form the desired image. The artists desire to connect with the viewers. Dot wants to connect with Georges. George wants to connect to the future; but George can only connect with the future once he connects with his familial heritage.
There are so many reasons I could explain why I think this show won the Pulitzer, but I will limit myself to the two broad topics mentioned above.
Classroom Implications
The show depicts the struggle and successes of artists everywhere. The song, "Finishing the Hat" has been identified as a near-perfect summary of the artist's struggles and yearnings.
2. Connection
One of the show's main topics is connection. The painting relies upon the viewer's eye to connect the dots, quite literally, to form the desired image. The artists desire to connect with the viewers. Dot wants to connect with Georges. George wants to connect to the future; but George can only connect with the future once he connects with his familial heritage.
There are so many reasons I could explain why I think this show won the Pulitzer, but I will limit myself to the two broad topics mentioned above.
Classroom Implications
There is a quote from the show that I want to be apparent in my classroom.
"Anything you do, let it come from you; then it will be new. Give us more to see."
That line concludes the inspirational "Move On." The version I have linked is from a birthday concert for Sondheim. The musical video recording is iconic, but this performance is inimitable.
Personal Takeaway
"Anything you do, let it come from you; then it will be new. Give us more to see."
That line concludes the inspirational "Move On." The version I have linked is from a birthday concert for Sondheim. The musical video recording is iconic, but this performance is inimitable.
Personal Takeaway
Any person who wants to create anything should listen to this album or watch the movie. I cannot say enough about it. Every time I listen to it, I learn something new about humanity.
Ranking
TBD
Ranking
TBD
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