Rating: 
Summary: DVD brings Broadway home! With Sondheim commentary!
Review: SUNDAY IN THE PARK WITH GEORGE was one of the first Sondheim collaborations with Lapine, and it remains a classic of the stage. Here you get the original cast including Many Patinkin and Bernadette Peters captured for a PBS GREAT PERFORMANCES. The camerawork is tight on them, and you see every nuance in their faces, and even get glimpses of what Mandy is drawing as he plays Seraut in the first act. Some people find this one hard to relate to, and of the three available on DVD that is probably true. PASSION and INTO THE WOODS deal with easier subject matter, and have more elaborate staging to work with. But this is still a handsome production filled with vituoso performances of classic songs such as "Tipping the Hat" and "Sunday". That it is a difficult musical shouldn't stop you by any means. Like a fine wine it grows on you and warms you the more you imbibe. The best part of the DVD is the commentary featuring both lead actors, Sondheim, and Lapine. Mandy Pantinkin seems to dominate the discussion, but all chime in to reveal what a personal labor of love it was for all involved. Sondheim's biggest revelation is that he originally intended George to be played by a BASS, and was skeptical of Mandy in the role! Bernadette Peters good-heartedly remembers all the cast member names, and recalls many backstage stories centered on the performance. Mandy seems most concerned with telling you about auditioning, and developing his "dog" voices. Lapine talks of how dialogue became songs and vice versa. It's a great track, and gives you insight into the show that will make you appreciate it that much more.And as a side note ... why all the problems with Act 2? "Move On", "Children and Art", and "Putting It Together" are some of the most moving songs and moments in the show. The idea that a love can last generations! Sigh! I think it's wonderful.
Rating:
Summary: Art imitating famous artwork
Review: What amazes me most about this production is that it is intensely visual at the same time it is phenomenal to listen to. Both the music and the images support the story and recreate George Seurat's famous painting. Very little is known about Seurat's life, so this biographical piece takes great liberties. But it is a stunning show. As George creates his work, the audience is introduced to the figures in the painting. Young girls, soldiers, servants, nurses, mothers and artists are developed as characters before coming together for the final tableau. At this point, a screen with the painting drops in front of the stage, showing how perfectly the scene was recreated. The emotional theme of the show is the story between George (Mandy Patinkin, fabulous as always), who is obsessed with his work, and Dot (Bernadette Peters), his often-ignored lover. The pair truly love eachother, but George's work and his inability to express his feelings get in the way. "Finishing the Hat" and "Move On" are two songs/scenes that beautifully show the characters emotions. The actors come back when the show flips to modern day -- as a new artist named George and his grandmother Marie (the child of Dot and the original George). And the younger George learns new lessons from the failures of Dot and the older George. Musically and lyrically, Sondheim perfectly captures the emotions of the characters and the painting itself. "Red, red, red, red, red, red, orange, red, red, orange..." George sings while he works. The staccato words and music evoke the pointilistic style of the painting itself. Incredible! (But, what else would one expect of Sondheim?) Highlights to watch for: "Mr." and "Mrs." a hilariously ignorant couple of American tourists. "WE...ARE...LOST!" they say to the French, while making huge gestures. Also note Brent Spiner (before he became famous as Star Trek's "Data") as a German servant.
Rating: 
Summary: Breathtaking Score, Irritating Patinkin
Review: I've never enjoyed the work of Patinkin. He overkills characters and though he seems to think of himself extremely highly, his portrayals leave much to be desired. One of the great music theatre artists Phillip Quast played this role in London (National Theatre), and audiences responded well to his masterful portrayal. It is a shame Patinkin has to content with such competition, Quast is a consummate artist, Patinkin wants to be one. Patinkin's irritating vibrato and appalling resonance make for a boring and watery (pardon the pun) performance, lacking in any proper exploration of the music's depth and attempting to steal attention away from his mega co-star Peters, who outshines Patinkin with her physicality and realization. This is not to say Patinkin does not attempt to convey some sense of emotional sensitivity in relation to his performance development, he does, but it is a contrived exploration which, stylistically, appears acted and unashamedly forced. Patinkin's appalling commentary on this DVD draws attention to this obviously self conscious, afraid performer who seems so adamant to steal attention away from the highly intelligent professionals with whom he works. He strives to attract attention. Patinkin aside, Peters puts in a masterful portrayal, conveying a beautiful sensitivity which makes up for the lost moments of Patinkin's self-indulgent performance. Peters commands attention, and receives it. An ingenious score by our great master Stephen Sondheim allows the depth and texture of the emotional to be fused with the physical in an interesting and multifaceted exploration. The sweeping grandeur of "Sunday" evokes the lush, somewhat dreamlike world of Paris at the turn of the century beautifully, yet we can also see the sculptural formations built into the intricate score as if to suggest shapely formations and distinguished hues. SUNDAY IN THE PARK WITH GEORGE has a magnificent score, and apart from Patinkin's poor performance as George, this show is leveled out by the hard slog put in by the remarkable supporting cast - it's all in a Sunday's work really...
Rating:
Summary: Not your typical Broadway show...
Review: IMO, a superlative combination of performance, stagecraft and songwriting. The story brings into high relief the paradox of artist worship- Dot loves George most of all for his painting, to be immortalized in his medium. The obsession that makes George's art so great is the very thing that prevents him from giving her what she really needs: commitment, connection. The music, while lacking the catchy, hummable tunes of mainstream Broadway, tellingly evokes Seurat's Divisionist painting style and limns the jarring temporal dislocations of the stage effects and scene transitions. The video may not have the gloss and precision of the original cast recording, but brings more strongly characterized and muscular performances from the cast and orchestra, vividly highlighting the brilliant orchestration. Patinkin's Seurat is more masculine, more French; Peters serves up her dialogue more naturally. The DVD commentary gives some interesting insights into the creation of this work, and shows a revealing portrait of the principals- Patinkin intense, passionate, narcissistic; Peters charming, laid-back, but somewhat less intellectually engaging. Highlights for me include the splendid opening number, the remarkable blending of song, dialogue and musical illustration in "Color and Light" and "Finishing the Hat", the rich didactics of "Beautiful" and "Children and Art". A real connoisseur's piece!
Rating:
Summary: Doesn't Get Much Better
Review: It's a shame that this show didn't win the Tony Award for Best Musical (though La Cage is certainly a fine show). For anyone who is interested in a musical that is unique, fun and incredibly thoughtful, this is your musical. While I amost always enjoy Bernadette Peters, and every now and then Mandy Patinkin, I think Sondheim's score and lyrics are the star (as usual). Songs like "Putting it Together" reminds anyone who considers themselves an artist the struggle of getting their art to the audiences. The miracles of creation and the struggle with life outside of creation is so finely done with "Finishing the Hat." Amidst all of the inticate "pointillistic" music that Sondheim has created to emulate the art of Sarat's painting, I consider the first act finale "Sunday" to be one of the finest choral pieces I've ever heard. Many critics have the opinion that the extreme contrasts of the first and second acts makes for an uneven musical, but they in fact work together, as one show should. The story has next to little facts about Sarat and his mistress, but the show itself as a whole, with Lapine's flowing direction, is a masterpiece, and, for this reviewer, brilliant.
Rating:
Summary: A solid record of a brilliant show.
Review: Though perhaps the later Passion was a greater Sondheim-Lapine collaboration, their first work - Sunday in the Park with George - remains a sensitive and delicate piece that merits contemplation. It was preserved on video, and the preservation is generally solid. The film work generally manages to capture where the audience attention would best be, and in such a visual show it does as well as film may to transcribe the essence. Sunday... is one of Sondheim's most pleasant scores for listening; it has a grace and majesty that mark it above much of his other work. It is fortunately combined with a witty book and excellent direction on Lapine's part. The central character of the first act, Georges Seurat, is portrayed with a certain distance and coldness by Mandy Patinkin that many consider off-putting; I think that this is more directorial bias than actor's intent, and Patinkin's work was indeed among his best here. His romantic counterpart Dot is played with elegance and style by Bernadette Peters, at the prime of her career and in fine acting style. The second act's George is a much more relatable character, and I think that Patinkin's portrayal here is much more likeable and enjoyable. His work in "Putting it Together" alone is a masterpiece; Patinkin truly took the task of making two roles work. Peters is understated, but well acted, until the finale where she is marvellous. And the actual finale will raise more questions than it answers...for the show is really all about whether we choose to create children or art...in other words, romantic love or artistic devotion? This is the question George must face, as Seurat faced it, and learn where his answer lies. The ensemble parts are amazing. Fans can look for virtuoso performances by the likes of Brent Spiner and Charles Kimbrough. Everyone takes on the challenge of two different roles, two different worlds, and does so as gracefully and well as the leads. The result is a marvellous show that is sadly not produced all that much; the presence of the DVD record, though, makes up for it generously. It cannot be missed by any fan of serious musicals.
Rating:
Summary: Sunday in the Park with... oh god not Mandy
Review: Well before I go off on Mandy Patkin in the production of Steven Sondheim's Pulitzer Prize winning show "Sunday In the Park With George" lets talk about what was good. Bernadette is amazing... she unlike anyone else on stage is good in BOTH acts of this show. While everyone maintains a clever wit in Act 1, Act 2 they get lost in satire and a sarcastic look at modern day art. But Bernadette remains unflawed through the whole thing. She will make you laugh, make your cry and make you swoon. Her singing is wonderful as usual! The set is stunning! Scenic designer Tony Straiges has created the world of George Seurat. You find yourself inside the painting "Sunday Afternoon on the Isle of La Grande Jatte". In act two you find yourself in a very modern edgy world completely in contrast to act 1. The "Into the Woods" cast. I myself was a fan of into the woods very long before I saw this show and you'll find that Robert Westenberg, Barbara Bryne, and Danielle Ferland of Into the Woods plays some of the more memorable roles in the show. The music is flawless everything flows so well and the songs have a style which could possibly be called the Definition of "Sondheim Style" music... Now for the bad Act 2, if you see this show I recommend you stop it before act 2... Act one and 2 are almost 2 entirely different shows with only one brief character crossover. Act 2(for those not aware) takes place in the modern art world rather than in the world of George Seurat. The world of act two is far to harsh and brash after the light, fluffy feel of act 1. Characters are sardonic and tacky... annoying and tasteless... it lacks the splash. And of course Mandy Patkin, now im not a Patkin hater. Really im not! I find his voice usually pleasant but not here. Here it shivering falsetto is flawed and well... goofy. And in numbers where he gives the voice of two dogs its just plain obnoxious! He is absolutely terrible in this and it would take a true Patkin LOVER to be able to put up with him here. Other than those two things its really quite enjoyable... id recommend it but there are better shows out there.
Rating:
Summary: I love Mandy Patinkin!
Review: OK, to be honest, I haven't seen this one in a while. All I wanted to say is that Mandy Patinkin is a theatrical genius, and a theater god, and you should go easy on him. You're not SUPPOSSED to see stage acting that close! Anyway, I guess I just wanted an actors view in there
Rating:
Summary: Sondheim's Masterpiece
Review: This is what other Broadway musicals want to be when they grow up. Books, plays, real life stories have all had musicals base on them. But who else but Sondheim could base a musical on a painting? For those of you who may not understand or appreciate what truly inspirational music can be, view this show more than once. It is not sugar coated, fast food type art. Expand yourselves. Grow, Learn. This is what art was meant to be.
Rating: 
Summary: Great!!...But OHHH that Mandy Patinkin!!
Review: "Sunday in the Park with George" is one of Stephen Sondheim's most challenging works. Its complex plotting and musicalization continually hits the viewer with the unexpected. Not surprisingly, that resulted in a controversial and often disparaged Broadway production in 1984. This video reclaims the values of this seminal work, while also highlighting what went wrong with it. The common theory is that the second act just didn't work, and that the show's logical conclusion was at the end of act one. While the second act clearly had some misguided ideas (that Chromolume business is now just so much dated camp), it ultimately brought the strands of story to their logical conclusions, and the reappearance of Dot (Bernadette Peters) in the final scene was beautifully magnanimous (as was Peters' exquisite performance). The score of this show is both soaring and perplexing, at times so fussy with itself that it overtaxes the listener and you lose interest. Still, songs like "Finishing the Hat", "Children and Art", "Everybody Loves Louis" and the gorgeous "Sunday" rank among Sondheim's best. The cast is mostly exceptional, especially Peters in her most challenging role. While she appears to have had some vocal problems in the making of this video, her acting is rich and giving, and her Dot is the emotional centerpiece of the show. Other supporting players manage to make their turns vividly memorable, especially Babara Bryne as the mother, Dana Ivey as the rival painter's wife, and Charles Kimbrough as the rival painter. You connect with these characters' complexities and forgive their failings. That said, it must be noted that Mandy Patinkin is the destructive force here. He gives his usual, dour, completely over-the-top performance (some of his ridiculous facial expressions have to be seen to be believed), making this George a completely unlikeable, self-centered jerk. Come to think of it, that's exactly how Patinkin comes across in the audio commentary he does with Sondheim, Peters and director James Lapine. He repeatedly interrupts the others, interprets their work (and even their comments) for them, and changes the subject back to himself at the drop of a paintbrush. Amusingly, you can actually detect the frustration of the other three as he goes on again about something or other, making the kind of grandiose, sentimentally "intellectual" statements about his work typical of a self-involved ACTOR. At one point, Sondheim even refers to the pleasure Patinkin is taking in looking at himself on the screen. It's actually rather funny to hear the more down-to-earth Peters deflate some of Patinkin's highfallutin observations with her more objective, direct comments. One wishes we could hear more of her views rather than his blather, but none of them seems to be able to shut Patinkin up. He's insufferable. The penultimate moment occurs when Patinkin, who repeatedly refers to his crying spells during the run of the show (OKAY....we get it Mandy....you're a SENSITIVE ARTISTE), bursts into audible tears as the video concludes, skillfully stealing the final moment while reinforcing his wonderfulness. It's an obnoxious performance (both his acting AND his commentary) that will more than likely repel many viewers from a repeat visit. How unfortunate, because "Sunday in the Park..." is truly a worthwhile effort from the preeminent Broadway composer of the last 40 years. It deserves to have a life beyond this production, and beyond Patinkin's overbearing narcissism. You're not the show, Mandy. Please, take the day off!
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