Is Jake Gyllenhaal's Voice Good Enough for a Broadway Revival?
The reason they're lining up to get into Sunday in the Park with George, arguably the quintessential Stephen Sondheim musical, isn't so much the musical as its star, the thinking man's movie hunk Jake Gyllenhaal. The good news is that Gyllenhaal, as the moody pointillist Georges Seurat, is outstanding. The even better news is that he's at best the third most compelling thing on stage.
The Broadway revival debuted last night at the newly reopened Hudson Theatre, its first show in 49 years.
It wouldn't sell tickets, but top billing should arguably go to the Chromolume. And the most striking performance in this revival, which opened tonight at the newly resurrected Hudson Theatre, comes from Annaleigh Ashford, as Georges's neglected lover, Dot.
We know Gyllenhaal can act. The real question was whether he could sing. He brought the house down in the City Center Encores revival of Little Shop of Horrors two summers ago, but that was more for his winsome performance than his vocal chops. When Sunday came to Encores last summer, he was in better voice but still no musical star. Here, he sounds great—he's been taking lessons, clearly—with a full and clear tenor that, combined with his usual introspective charm and rugged good looks makes him a stellar Georges.
The cast of Sunday in the Park with George
As good as
Dot's fortitude is telegraphed from the first moments, as she models for Georges and wryly complains of its unpleasantness, through her late Act One tour de force, "I Have to Move On," when she gathers the courage to leave her true love. Art is about, among other things, tension, balance, and harmony, Georges says, and Gyllenhaal and Ashford are tense, balanced, and harmonic.
But back to the Chromolume. What's a Chromolume, you ask? It's a plot device that has been
Gylenhaal and Penny Fuller
The 1980s Chromolume, easily viewable on YouTube, is a ridiculous affair that I can only hope was slightly less ridiculous then, essentially Josie and the Pussycats' phallic spaceship places on the Solid Gold stage, with lights and smoke surrounding it. By the 2008 revival, imported from London's Menier Chocolate Factory, the Chromolume was, like everything in Menier production, smaller, and in that case left to be an
Now, finally, the Chromolume makes sense. Sunday's designers have a rigged a system of pulleys over
Sunday cannot help feeling like a deeply personal work about the focus and sacrifice required to make great art, the conviction necessary to stand up for new work, and the lasting impact of art.
Otherwise, the staging, by Sarna Lapine (the librettist's niece), is exceedingly straightforward. In Encores style, the orchestra sits upstage, and there is minimal scenery, in this
But the material is so strong, and the cast so good, that this Sunday remains deeply affecting. (The supporting cast is filled with often leading performers in small roles, including Brooks Ashmanskas, Ruthie Ann Miles, Robert Sean Leonard, and Jordan Gelber.) Sondheim has often said that he wrote only one autobiographical song, "Opening Doors," about young people starting out, in Merrily We Roll Along.
But Sunday cannot help feeling like a deeply personal work from any artist, especially this one—about the focus and sacrifice required to make great art, the conviction necessary to stand up for new work, and the lasting impact of art. Children and art, they're the things that last, Sunday says, and it says so in a song written by a brilliant artist and gay man who never had children. Like Seurat's painting, it is, and remains, a masterpiece.
Finally, a note on the Hudson: A one-time legitimate
Sunday in the Park with George plays through April 23,
This story originally appeared on Townandcountrymag.com.
* Minor edits have been made by the Townandcountry.ph editors.