Sondheim - Sunday In The Park With George - The Day Off & Everybody Loves Louis

Sondheim - Sunday In The Park With George - The Day Off & Everybody Loves Louis
Sunday in the Park with George is a musical with music and lyrics by Stephen Sondheim and book by James Lapine. It was inspired by the French pointillist painter Georges Seurat's painting A Sunday Afternoon on the Island of La Grande Jatte. The plot revolves around George, a fictionalized version of Seurat, who immerses himself deeply in painting his masterpiece, and his great-grandson (also named George), a conflicted and cynical contemporary artist. The Broadway production opened in 1984.
The musical won the 1985 Pulitzer Prize for Drama, two Tony Awards for design (and a nomination for Best Musical), numerous Drama Desk Awards, the 1991 Olivier Award for Best Musical and the 2007 Olivier Award for Outstanding Musical Production. It has enjoyed several major revivals, including the 2005-06 UK production first presented at the Menier Chocolate Factory, its subsequent 2008 Broadway transfer, and a 2017 Broadway revival.
Following the failure and scathing critical reception of Merrily We Roll Along in 1981 (it closed after 16 performances), Sondheim announced his intention to quit musical theatre. Lapine persuaded him to return to the theatrical world after the two were inspired by A Sunday Afternoon on the Island of La Grande Jatte. They spent several days at the Art Institute of Chicago studying the painting. Lapine noted that one major figure was missing from the canvas: the artist himself. This observation provided the springboard for Sunday and the production evolved into a meditation on art, emotional connection and community.
The musical fictionalizes Seurat's life. In fact, neither of his children survived beyond infancy and he had no grandchildren. Seurat's common-law wife was Madeleine Knobloch, who gave birth to his two sons, one after his death. Unlike Dot, Knobloch was living with Seurat when he died, and did not emigrate to America. She died of cirrhosis of the liver at the age of 35.
The musical began previews on April 2, 1984 at the Booth Theatre on Broadway and officially opened on May 2, 1984. The second act was finalized and the show was "frozen" only a few days before the opening.
Lapine directed and Patinkin and Peters starred, with scenic design by Tony Straiges, costume design by Patricia Zipprodt and Ann Hould-Ward, lighting by Richard Nelson, and special effects by Bran Ferren. In his New York Times review of Sunday in the Park with George Frank Rich wrote, "What Mr. Lapine, his designers and the special-effects wizard Bran Ferren have arranged is simply gorgeous."[9] It was the first Broadway show to utilize projection mapping (onto the spherical surface topping the Chromolume #7 sculpture), and high powered lasers that broke the 4th wall, traveling throughout the audience.
Sunday opened on Broadway to mixed critical responses. The New York Times theatre critic Frank Rich wrote: "I do know... that Mr. Sondheim and Mr. Lapine have created an audacious, haunting and, in its own intensely personal way, touching work. Even when it fails - as it does on occasion - Sunday in the Park is setting the stage for even more sustained theatrical innovations yet to come."[10] The musical enjoyed a healthy box office, though the show would ultimately lose money; it closed on October 13, 1985, after 604 performances and 35 previews.
Although it was considered a brilliant artistic achievement for Sondheim and nominated for ten Tony Awards, the show won only two, both for design. (The major winner of the night was Jerry Herman's La Cage aux Folles. In his acceptance speech Herman noted that the "simple, hummable tune" was still alive on Broadway, a remark some perceived as criticism of Sondheim's pointillistic score. Herman has since denied that that was his intention.[11]) Sunday won the New York Drama Critics Circle Award for Outstanding Musical and Sondheim and Lapine were awarded the Pulitzer Prize for Drama.[12] Sunday is one of only ten musicals to win a Pulitzer.
On May 15, 1994, the original cast of Sunday in the Park with George returned to Broadway for a tenth anniversary concert, which was also a benefit for "Friends in Deed".

[@ericholck3914]

"We lose things. And then we choose things. And there are Louies. And there are Georges... well, Louies and George." Gets me every single time, in a way I can't really explain.

[@banananotebook3331]

It is a piercing line that shatters George's pretensions and self defense. George chose to be this way. He sacrificed his personal life for his art. He says it himself in , which according to Sondheim, the first time they performed it they had to sweep the other actors off the stage (because it was added in quite late, so that was the first time everyone else heard it). Funnily enough, Sondheim is rather good at writing these piercing songs; After he wrote Company, a musical about marriage, the lead Dean Jones quit because he realized his own marriage was falling apart.

[@LunarShimmer]

"Hello, George... where did you go, George?" gets stuck in my head so often. I love her, I love her voice, she's so talented, agh.

[@sophianardone7496]

and George has georgeeeee LORDDD UGH so good.

[@WillScarlet16]

Fun fact - James Lapine's grandfather was a baker named Louis, and he didn't even know it until after the show opened; which may be why he chose a baker as a major character in his next show with Sondheim.

[@pickleridge5656]

For the past 9 months i've been trying to find some reference to it anywhere - where did you hear about this?

[@WillScarlet16]

@@pickleridge5656Read it in James Lapine's book Putting it Together. Read it.

[@davirhestudios]

6:27 Everybody loves Louis

[@collinkilloran5721]

Bernadette is fantastic

[@tenchocolatesundaes]

brent spiner does it again lmao

[@TylerCirulnick]

1:53 - 3:50