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'Sunday' on the stage with Sondheim

By Matt Windman, amNewYork Theater Critic
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The revival of the Stephen Sondheim-James Lapine musical, 'Sunday in the Park with George,' inspired by the Georges Seurat painting, "A Sunday Afternoon on the Island of La Grande Jatte." (Ari Mintz/Newsday)

Roundabout Theatre Company really ought to rename Studio 54 as The Stephen Sondheim Theatre -- or at least something like Studio Sondheim. Or even Sondheim 54.

The company's revival of "Sunday in the Park with George" follows their productions of Sondheim's "Company," "Follies," "Assassins" and "Pacific Overtures." And word on the street is that "Merrily We Roll Along" is next on the list.

The quality of these revivals has been a mixed bag. While "Assassins" was perfect, the others disappointed. But "Sunday in the Park," which is based directly on Sam Buntrock's London production, is nothing short of a triumph that is worthy of an extended run.

Inspired by the Georges Seurat painting "A Sunday Afternoon on the Island of La Grande Jette," "Sunday" begins by exploring the life and artistic rigor of its pointillist protagonist in 1884, who coldly ignores his loved ones to concentrate on his art. Or, as Sondheim puts it, he must "finish the hat." Act Two, set in 1980s New York, looks at Seurat's great grandson and his search for fulfillment in the world of contemporary art.

Buntrock, who is only 32 years old, has not radically reinterpreted the musical. Rather, what he brings is a new emphasis on computer-generated graphic imagery. As Act One goes along, the stage becomes covered in Seurat's sketches until it all morphs into the final painting by intermission. Unlike in the original production, there is now less of a disconnect visually between Acts One and Two.

Daniel Evans (George) and Jenna Russell (Dot), who won Olivier Awards in London, shun the starry, idiosyncratic touches of Mandy Patinkin and Bernadette Peters, who originated their roles. Both deliver extremely sensitive, nuanced performances that allow "Sunday," one of the most difficult musicals ever, to resonate emotionally like never before.

We can't help but wonder whether the film version of "Sweeney Todd" will encourage new theatergoers to check out other work by Sondheim. Even while "Sunday" is admittedly more static and challenging than "Sweeney," it is a gripping, gorgeous and gratifying play that showcases some of the smartest writing in musical theater history.

Studio 54, 254 West 54th St, 212-719-1300, $36.25-121.25. Tues 8pm, Wed 2 & 8pm, Thurs-Fri 8pm, Sat 2 & 8pm, Sun 2pm. Thru May 18.