x.length) { slideIndex = 1; } x[slideIndex - 1].style.display = "block"; setTimeout(carousel, 2500); }, In Us/Them, a pair of children held hostage in Beslan tell their story from a cool distance, A comedy about brain injury and Wilder Penfield? Running time: 2 hours 35 minutes. Directed by Sam Buntrock, this production uses 21st-century technology to convey the vision of a 19th-century Pointillist to truly enchanting effect. Stephen Sondheim-James Lapine musical at Studio
Readers can also interact with The Globe on Facebook and Twitter . This translation has been automatically generated and has not been verified for accuracy. Music and lyrics by Stephen Sondheim; book by James Lapine; directed by Sam Buntrock; musical staging by Christopher Gattelli; sets and costumes by David Farley; lighting by Ken Billington; sound by Sebastian Frost; projection design by Timothy Bird and the Knifedge Creative Network; musical supervisor, Caroline Humphris; orchestrations by Jason Carr; music coordinator, John Miller; production stage manager, Peter Hanson; hair and wig design by Tom Watson; dialect coach, Kate Wilson; technical supervisor, Steve Beers; executive producer, Sydney Beers; associate artistic director, Scott Ellis. The musical’s two Georges — the Seurat of the first act and his descendant of the second act, an American sculptor in the booming 1980s — keep telling themselves to connect. Welcome to The Globe and Mail’s comment community. (The animated dogs, in particular, are delightful.). Read our. As for the “site-responsive” nature of this Sunday, the staging in a loft-like venue that dates to the late 19th century called the Jam Factory would be perfectly fine were it not for the fact that it is located right next to the Don Valley Parkway. She can go a little big when it comes to comedy, but they don’t really read as over-the-top here given the fact that the tone to Tsitsias’s concert/production is even bigger across the board (save for Buliung). The technical team here includes David Farley (set and costumes), Ken Billington (lighting) and Timothy Bird and the Knifedge Creative Network (projection design). The show’s satire of the 1980s art world has never felt witty or fresh, and it still doesn’t. That word alone is wince-worthy. A concert staging at City Center last fall of Stephen Sondheim’s 1984 Pulitzer Prize-winning musical “Sunday in the Park With George” went swimmingly, with Jake Gyllenhaal in the titular role of Georges Seurat, raising hopes for an extended engagement. Thank you for your patience. We want Eng subs!!
You could hear the future coming in the windows a little throughout, when that really should be confined to the second act. In concert with Beowulf Boritt’s set designs, Tal Yarden’s projections first deconstruct and then re-assemble “A Sunday Afternoon on the Island of La Grande Jatte” from Sondheim’s playful musical portrayals of the mute models captured on the artist’s canvas. When “Sunday” moved to Broadway nearly 24 years ago after starting out at Playwrights Horizons, it felt bigger and splashier than it does this time, with outsize star performances from Mandy Patinkin (as Seurat) and Bernadette Peters (as his lover and model, Dot). Review: Sunday in the Park with George (Eclipse) March 5, 2020 Ilana Lucas. (When autumn arrives, a pointillist shower of color falls from the sky.) Every member of those audiences, whether consciously or not, is struggling for such harmony in dealing with the mess of daily reality.

We aim to create a safe and valuable space for discussion and debate. There are no little people in this intricate canvas: Robert Sean Leonard cuts an elegant figure as a man about town; Liz McCartney and Brooks Ashmanskas are amusing as a couple with more money than taste; and Penny Fuller makes a feisty old lady. The 20th-century George’s lack of artistic direction feels touchingly of a piece with this second act, which becomes a paean to the process of self-questioning, even when answers are distant at best. No one could level such objections at this “Sunday,” which celebrates both the bountiful chaos of life and the forms used to make sense of it. He’s brought along his much more likeable grandmother Marie, who claims to be Georges Seurat’s daughter with Dot. On the contrary, I’ve never seen a supporting cast for this show that presents such finely individuated characterizations, including those of Michael Cumpsty and Jessica Molaskey (as a rival artist and his wife), and Santino Fontana as a young soldier. Find out what’s new on Canadian stages from Globe theatre critic J. Kelly Nestruck in the weekly Nestruck on Theatre newsletter. Benger, an up-and-comer about to tour the country as Sally Bowles in the Grand Theatre’s hit production of Cabaret, brings all manner of light and shade to the part – plus great comic timing and a voice that can pierce or soar as necessary. Sarna Lapine’s stunning new production of James Lapine and Stephen Sondheim’s Sunday In The Park With George, which has welcomed back the newly renovated Hudson Theatre to the ranks of Broadway houses after a half-century absence, is an excellent example of why less is often more. That the second act ends as the first does, in a ravishing epiphany of artistic harmony, now feels more than ever like a loving benediction, bestowed by the show’s creators on its audiences. I'm a print subscriber, link to my account, Avoid the use of toxic and offensive language. As his Seurat moves awkwardly and self-consciously among the conventional Parisians of the 1880s, he clearly lacks the traditional skills of social intercourse. Through June 1. Her best moment, however, comes in the concise second act of the musical – which jumps ahead to 1984 and becomes a satire of art-making in the Reagan era (which is like art-making in our era). The main reasons why musical-theatre aficionados consider this Sunday a true “event” is that it allows an opportunity to see Evan Buliung, a Stratford Festival star who also played troubled dads in the Toronto premieres of Fun Home and Dear Evan Hansen, as the pointillist painter Georges Seurat. It also means building the bridges that, however briefly, allow someone else to see as you do. SUNDAY IN THE PARK WITH GEORGE, Stephen Sondheim and James Lapine's musical inspired by the pointillist painting 'A Sunday Afternoon on … Audio for this article is not available at this time. The show at Western had originally been cancelled because of the pandemic last spring. Yet thanks in part to the production’s inventive visuals — including a lovely time-traveling segue — this act has a charm and sensitivity it lacked in earlier incarnations. Evan Buliung and Lori Mirabelli perform in Sunday in the Park with George by the Eclipse Theatre Company in Toronto. But in “Sunday in the Park With George,” which won the Pulitzer Prize for drama in 1985, looking involves much more than registering what’s pretty, what’s shocking, what’s new. Sign up today. That the vision in Act I is largely Seurat’s does not mean that those around him have only marginal existence. Please log in to listen to this story.

The great gift of this production, first staged in London two years ago, is its quiet insistence that looking is the art by which all people shape their lives. But even as retooled, the show retains the quality of serene simplicity that heightens the poignant beauty of the score. The Georges are as isolatingly obsessive as ever about their work.
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Readers can also interact with The Globe on Facebook and Twitter . This translation has been automatically generated and has not been verified for accuracy. Music and lyrics by Stephen Sondheim; book by James Lapine; directed by Sam Buntrock; musical staging by Christopher Gattelli; sets and costumes by David Farley; lighting by Ken Billington; sound by Sebastian Frost; projection design by Timothy Bird and the Knifedge Creative Network; musical supervisor, Caroline Humphris; orchestrations by Jason Carr; music coordinator, John Miller; production stage manager, Peter Hanson; hair and wig design by Tom Watson; dialect coach, Kate Wilson; technical supervisor, Steve Beers; executive producer, Sydney Beers; associate artistic director, Scott Ellis. The musical’s two Georges — the Seurat of the first act and his descendant of the second act, an American sculptor in the booming 1980s — keep telling themselves to connect. Welcome to The Globe and Mail’s comment community. (The animated dogs, in particular, are delightful.). Read our. As for the “site-responsive” nature of this Sunday, the staging in a loft-like venue that dates to the late 19th century called the Jam Factory would be perfectly fine were it not for the fact that it is located right next to the Don Valley Parkway. She can go a little big when it comes to comedy, but they don’t really read as over-the-top here given the fact that the tone to Tsitsias’s concert/production is even bigger across the board (save for Buliung). The technical team here includes David Farley (set and costumes), Ken Billington (lighting) and Timothy Bird and the Knifedge Creative Network (projection design). The show’s satire of the 1980s art world has never felt witty or fresh, and it still doesn’t. That word alone is wince-worthy. A concert staging at City Center last fall of Stephen Sondheim’s 1984 Pulitzer Prize-winning musical “Sunday in the Park With George” went swimmingly, with Jake Gyllenhaal in the titular role of Georges Seurat, raising hopes for an extended engagement. Thank you for your patience. We want Eng subs!!
You could hear the future coming in the windows a little throughout, when that really should be confined to the second act. In concert with Beowulf Boritt’s set designs, Tal Yarden’s projections first deconstruct and then re-assemble “A Sunday Afternoon on the Island of La Grande Jatte” from Sondheim’s playful musical portrayals of the mute models captured on the artist’s canvas. When “Sunday” moved to Broadway nearly 24 years ago after starting out at Playwrights Horizons, it felt bigger and splashier than it does this time, with outsize star performances from Mandy Patinkin (as Seurat) and Bernadette Peters (as his lover and model, Dot). Review: Sunday in the Park with George (Eclipse) March 5, 2020 Ilana Lucas. (When autumn arrives, a pointillist shower of color falls from the sky.) Every member of those audiences, whether consciously or not, is struggling for such harmony in dealing with the mess of daily reality.

We aim to create a safe and valuable space for discussion and debate. There are no little people in this intricate canvas: Robert Sean Leonard cuts an elegant figure as a man about town; Liz McCartney and Brooks Ashmanskas are amusing as a couple with more money than taste; and Penny Fuller makes a feisty old lady. The 20th-century George’s lack of artistic direction feels touchingly of a piece with this second act, which becomes a paean to the process of self-questioning, even when answers are distant at best. No one could level such objections at this “Sunday,” which celebrates both the bountiful chaos of life and the forms used to make sense of it. He’s brought along his much more likeable grandmother Marie, who claims to be Georges Seurat’s daughter with Dot. On the contrary, I’ve never seen a supporting cast for this show that presents such finely individuated characterizations, including those of Michael Cumpsty and Jessica Molaskey (as a rival artist and his wife), and Santino Fontana as a young soldier. Find out what’s new on Canadian stages from Globe theatre critic J. Kelly Nestruck in the weekly Nestruck on Theatre newsletter. Benger, an up-and-comer about to tour the country as Sally Bowles in the Grand Theatre’s hit production of Cabaret, brings all manner of light and shade to the part – plus great comic timing and a voice that can pierce or soar as necessary. Sarna Lapine’s stunning new production of James Lapine and Stephen Sondheim’s Sunday In The Park With George, which has welcomed back the newly renovated Hudson Theatre to the ranks of Broadway houses after a half-century absence, is an excellent example of why less is often more. That the second act ends as the first does, in a ravishing epiphany of artistic harmony, now feels more than ever like a loving benediction, bestowed by the show’s creators on its audiences. I'm a print subscriber, link to my account, Avoid the use of toxic and offensive language. As his Seurat moves awkwardly and self-consciously among the conventional Parisians of the 1880s, he clearly lacks the traditional skills of social intercourse. Through June 1. Her best moment, however, comes in the concise second act of the musical – which jumps ahead to 1984 and becomes a satire of art-making in the Reagan era (which is like art-making in our era). The main reasons why musical-theatre aficionados consider this Sunday a true “event” is that it allows an opportunity to see Evan Buliung, a Stratford Festival star who also played troubled dads in the Toronto premieres of Fun Home and Dear Evan Hansen, as the pointillist painter Georges Seurat. It also means building the bridges that, however briefly, allow someone else to see as you do. SUNDAY IN THE PARK WITH GEORGE, Stephen Sondheim and James Lapine's musical inspired by the pointillist painting 'A Sunday Afternoon on … Audio for this article is not available at this time. The show at Western had originally been cancelled because of the pandemic last spring. Yet thanks in part to the production’s inventive visuals — including a lovely time-traveling segue — this act has a charm and sensitivity it lacked in earlier incarnations. Evan Buliung and Lori Mirabelli perform in Sunday in the Park with George by the Eclipse Theatre Company in Toronto. But in “Sunday in the Park With George,” which won the Pulitzer Prize for drama in 1985, looking involves much more than registering what’s pretty, what’s shocking, what’s new. Sign up today. That the vision in Act I is largely Seurat’s does not mean that those around him have only marginal existence. Please log in to listen to this story.

The great gift of this production, first staged in London two years ago, is its quiet insistence that looking is the art by which all people shape their lives. But even as retooled, the show retains the quality of serene simplicity that heightens the poignant beauty of the score. The Georges are as isolatingly obsessive as ever about their work.
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Readers can also interact with The Globe on Facebook and Twitter . This translation has been automatically generated and has not been verified for accuracy. Music and lyrics by Stephen Sondheim; book by James Lapine; directed by Sam Buntrock; musical staging by Christopher Gattelli; sets and costumes by David Farley; lighting by Ken Billington; sound by Sebastian Frost; projection design by Timothy Bird and the Knifedge Creative Network; musical supervisor, Caroline Humphris; orchestrations by Jason Carr; music coordinator, John Miller; production stage manager, Peter Hanson; hair and wig design by Tom Watson; dialect coach, Kate Wilson; technical supervisor, Steve Beers; executive producer, Sydney Beers; associate artistic director, Scott Ellis. The musical’s two Georges — the Seurat of the first act and his descendant of the second act, an American sculptor in the booming 1980s — keep telling themselves to connect. Welcome to The Globe and Mail’s comment community. (The animated dogs, in particular, are delightful.). Read our. As for the “site-responsive” nature of this Sunday, the staging in a loft-like venue that dates to the late 19th century called the Jam Factory would be perfectly fine were it not for the fact that it is located right next to the Don Valley Parkway. She can go a little big when it comes to comedy, but they don’t really read as over-the-top here given the fact that the tone to Tsitsias’s concert/production is even bigger across the board (save for Buliung). The technical team here includes David Farley (set and costumes), Ken Billington (lighting) and Timothy Bird and the Knifedge Creative Network (projection design). The show’s satire of the 1980s art world has never felt witty or fresh, and it still doesn’t. That word alone is wince-worthy. A concert staging at City Center last fall of Stephen Sondheim’s 1984 Pulitzer Prize-winning musical “Sunday in the Park With George” went swimmingly, with Jake Gyllenhaal in the titular role of Georges Seurat, raising hopes for an extended engagement. Thank you for your patience. We want Eng subs!!
You could hear the future coming in the windows a little throughout, when that really should be confined to the second act. In concert with Beowulf Boritt’s set designs, Tal Yarden’s projections first deconstruct and then re-assemble “A Sunday Afternoon on the Island of La Grande Jatte” from Sondheim’s playful musical portrayals of the mute models captured on the artist’s canvas. When “Sunday” moved to Broadway nearly 24 years ago after starting out at Playwrights Horizons, it felt bigger and splashier than it does this time, with outsize star performances from Mandy Patinkin (as Seurat) and Bernadette Peters (as his lover and model, Dot). Review: Sunday in the Park with George (Eclipse) March 5, 2020 Ilana Lucas. (When autumn arrives, a pointillist shower of color falls from the sky.) Every member of those audiences, whether consciously or not, is struggling for such harmony in dealing with the mess of daily reality.

We aim to create a safe and valuable space for discussion and debate. There are no little people in this intricate canvas: Robert Sean Leonard cuts an elegant figure as a man about town; Liz McCartney and Brooks Ashmanskas are amusing as a couple with more money than taste; and Penny Fuller makes a feisty old lady. The 20th-century George’s lack of artistic direction feels touchingly of a piece with this second act, which becomes a paean to the process of self-questioning, even when answers are distant at best. No one could level such objections at this “Sunday,” which celebrates both the bountiful chaos of life and the forms used to make sense of it. He’s brought along his much more likeable grandmother Marie, who claims to be Georges Seurat’s daughter with Dot. On the contrary, I’ve never seen a supporting cast for this show that presents such finely individuated characterizations, including those of Michael Cumpsty and Jessica Molaskey (as a rival artist and his wife), and Santino Fontana as a young soldier. Find out what’s new on Canadian stages from Globe theatre critic J. Kelly Nestruck in the weekly Nestruck on Theatre newsletter. Benger, an up-and-comer about to tour the country as Sally Bowles in the Grand Theatre’s hit production of Cabaret, brings all manner of light and shade to the part – plus great comic timing and a voice that can pierce or soar as necessary. Sarna Lapine’s stunning new production of James Lapine and Stephen Sondheim’s Sunday In The Park With George, which has welcomed back the newly renovated Hudson Theatre to the ranks of Broadway houses after a half-century absence, is an excellent example of why less is often more. That the second act ends as the first does, in a ravishing epiphany of artistic harmony, now feels more than ever like a loving benediction, bestowed by the show’s creators on its audiences. I'm a print subscriber, link to my account, Avoid the use of toxic and offensive language. As his Seurat moves awkwardly and self-consciously among the conventional Parisians of the 1880s, he clearly lacks the traditional skills of social intercourse. Through June 1. Her best moment, however, comes in the concise second act of the musical – which jumps ahead to 1984 and becomes a satire of art-making in the Reagan era (which is like art-making in our era). The main reasons why musical-theatre aficionados consider this Sunday a true “event” is that it allows an opportunity to see Evan Buliung, a Stratford Festival star who also played troubled dads in the Toronto premieres of Fun Home and Dear Evan Hansen, as the pointillist painter Georges Seurat. It also means building the bridges that, however briefly, allow someone else to see as you do. SUNDAY IN THE PARK WITH GEORGE, Stephen Sondheim and James Lapine's musical inspired by the pointillist painting 'A Sunday Afternoon on … Audio for this article is not available at this time. The show at Western had originally been cancelled because of the pandemic last spring. Yet thanks in part to the production’s inventive visuals — including a lovely time-traveling segue — this act has a charm and sensitivity it lacked in earlier incarnations. Evan Buliung and Lori Mirabelli perform in Sunday in the Park with George by the Eclipse Theatre Company in Toronto. But in “Sunday in the Park With George,” which won the Pulitzer Prize for drama in 1985, looking involves much more than registering what’s pretty, what’s shocking, what’s new. Sign up today. That the vision in Act I is largely Seurat’s does not mean that those around him have only marginal existence. Please log in to listen to this story.

The great gift of this production, first staged in London two years ago, is its quiet insistence that looking is the art by which all people shape their lives. But even as retooled, the show retains the quality of serene simplicity that heightens the poignant beauty of the score. The Georges are as isolatingly obsessive as ever about their work.
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