Sunday in the park with GeorgeHe is currently playing in a limited race at the Hudson Theater in New York, starring Jake Gillnhal, free of politics, a period of two and a half hours of contemporary fears, and a vacation on the banks of Sen, which bathe in sunlight and respondents. However, without striving, it makes one of the most convincing situations that can be imagined to the artists’ authority, and the extent of their work deeply integral for a well -arranged society. Art shows us, as George Gilnahl explains to his mother in one of the most influential work songs, how life could be beautiful.
But instead of just celebrating the fruits of creative work, Sunday in the park It is a testimony on practical The art made a great peek into the mind of a person who wrestles with his own genius. When the show – with music, Stephen Sondheim and James Labin’s book – was presented in 1984, it was interpreted as one of the most personal expressions of Sondheim, which comes in the wake of a cash and financial bomb bomb, Fun we scrub along. George, the hero of the show, is obsessed with his paintings, at the expense of everything else in his life. But with the evolution of the offer, by moving from France in the nineteenth century to the eighties of the last century, it explores the logic behind its single installation, and how George’s role as an observer for all allows the world to see differently as well.
This is largely because this revival, which was directed by Sarna Labin (the daughter of James Labin), is very wonderful and emotionally rich, and it was installed by Gilnahal and Ashord’s shows in the role of George’s mistress and artist, Dot. The exhibition is located on the work of Georges Seurat in 1884, “Sunday afternoon on the island of La Grande Jatte” George is a loose version of Seurat, with his widespread fairy life. While drawing studies on Dot, who complains about discomfort and heat and George’s fierce focus on his work, the expectations of his drawings appear against a background on the stage, which was presented to witness the audience in the actual time. All the time George tells his thinking process: the challenge of bringing the system and harmony into an empty fabric.
Gyllenhaal’s talents as a well -documented actor now, so his vocal talents that may be a surprise (note, if you don’t already do, Cary Fukunaga’s Short video From Gyllenhaal sings George “finishing the hat” in Hudson). His voice is rich, measured, and certain. But the representation behind it is the one that cuts into depth, in a remarkable integration of technical achievement and intense absorption in a role. When he sings about drawing a sky, and senses sounds outside, but completely lost in the focus, “with dizzy” from the height of the fall to the ground, you are tempting, like Dot, to forgive him in everything.
Ashford, who won Petoni to revive the 2014 comedy You cannot take it with youAre George’s ideal chips like the point: rude, practical, charming without limits. But it also transmits the great pain of the love of someone to be unacceptable, and its chemistry with pure Gyllenhaal. Near the end of the first chapter, when George directs many elements and characters to meet in a synergy of music and pictures, he puts a point at the front of the “painting”, as if she was keeping her close. But the support team, also, are adept at providing comic relief, and budget of harmony of the show: Robert Sean Leonard in the role of Guls, an accomplished artist; Benny Fuller, George, was lost in nostalgia. Philip Bokin as a boat full and delicacy. The surrounding characters by their nature are the original models, listed to provide contrast with the most suitable images of George and Dot.
The second verb Sunday in the parkWho was jumping forward until 1984-with Gilnahal, he plays another artist named George and Cheford, his grandmother, Mary, the daughter of Dot-often seemed tense after perfection in the first action, but Labin managed to make the two half more crowning by emphasizing the extent of George’s art with the brilliance of his greatness. Just as the courage Pointillism and Science of Light used to create new colors and impressions, George in 1984 for the first time in lighting is called “Chromolume” at the Art Institute in Chicago. The work, created by the scenic designer beowoulf boritt, is over the audience at an impressive display of lighting, fabric and ripples of public expenditures. Ashford, who explodes smoothly, plays the 90 -year -old Jeddah, surpasses the isolation of George and creative frustration in “Children and Art”, a song addressed to her mother in the painting. Cracked in singing, and the deliberate weakness of Mary’s voice, makes it one of the most moved numbers in the width.
George’s modern frustrations are different, but they are rooted in the same fears-unlike his oldest grandfather, he must support his expensive and technically advanced works, and to respond to the criticism that he will inevitably receive. But in the song “Move ON”, it becomes clear that the two are the same, and they are strained in making the art that matters, and do something new. The decision in the show comes from realizing that just doing the work is enough – everything else outside the artist’s hands. This production, brilliantly directed, affirms both the value in the struggle, and the eternity of the great art. It is really strong to be an experience, even for a short period of time, to see the world through the eyes of insight.