Chicago, United States In his best-known and largest painting, Georges Seurat depicted people relaxing in a suburban park on an island in the Seine River called La Grande Jatte.

At the Booth Theater, 222 West 45th Street. In 1879 Georges Seurat enlisted as a soldier in the French army and was back home by 1880. When Seurat's aged mother laments a modern building that her son admires, the Eiffel Tower, Mr. Patinkin sings that ''all things are beautiful'' because ''what the eye arranges is what is beautiful. Presented by the Shubert Organization and Emanuel Azenberg, by arangement with Playwrights Horizons. Akt die Entstehungsgeschichte des Gemäldes Der 2. When George finally learns how to ''connect'' with other people and rekindles his esthetic vision, his breakthrough is ordained by two pretty songs, ''Children and Art'' and ''Move On,'' which seem as inorganic as the equivalent inspirational number (''Being Alive'') that redeems the born-again protagonist in Mr. Sondheim's ''Company. And while Dot may be unlettered, Ms. Ashford makes you appreciate the acuity of her insights into what George is and does. With what resembles scientific precision, the … Stand back and you'll see that this evening's two theater artists, Mr. Sondheim and Mr. Lapine, have woven all those imaginative possibilities into a finished picture with a startling new glow.Stageful of Dots SUNDAY IN THE PARK WITH GEORGE, music and lyrics by Stephen Sondheim; book by James Lapine; directed by Mr. Lapine; scenery by Tony Straiges; costumes by Patricia Zipprodt and Ann Hould-Ward; lighting by Richard Nelson; special effects by Bran Ferren; sound by Tom Morse; hair and makeup, Lo Presto/Allen; movement by Randolyn Zinn; musical direction by Paul Gemignani; orchestrations by Michael Starobin; music published by Tommy Valando. ''Sunday'' is not a bridge to opera, like ''Sweeney Todd''; nor is it in the tradition of the dance musicals of Jerome Robbins and Michael Bennett. 2 and ElaineMary D'Arcy Boy and LouiseDanielle Ferland Man, Louis and Billy WebsterCris Groenendaal Mr. and Lee RandolphKurt Knudson Nurse, Mrs. and Harriet PawlingJudith Moore Frieda and BettyNancy Opel Boatman and Charles RedmondWilliam Parry Franz and DennisBrent Spiner Celeste No. 1 and WaitressMelanie Vaughan Soldier and AlexRobert Westenberg Man With Bicycle and Museum Assistant John Jellison Woman With Baby Carriage and Photographer Sue Anne Gershenson Little GirlMichele RiganTimesMachine is an exclusive benefit for home delivery and digital subscribers.This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996.
Der Titel dieses Artikels ist mehrdeutig. For this production, though, its creators have come up with a gasp-making pyrotechnic rain of multicolored lights, which finds the pointillism in fireworks.Even more important, though, is the emotional conviction — the anguished, hopeful yearning — that Mr. Gyllenhaal and Ms. Ashford bring to their parts here. (The second act begins at the Art Institute of Chicago, home to “La Grande Jatte” and to George’s latest installation.) Gyllenhaal invests every note he sings with the rapt determination of someone trying to capture and pin down the elusive. It’s right there in his eyes.Review: ‘Sunday in the Park With George,’ a Living Painting to Make You SeeJake Gyllenhaal, far left, and Annaleigh Ashford, far right, in “Sunday in the Park With George,” at the Hudson Theater.Jake Gyllenhaal and Annaleigh Ashford in “Sunday in the Park With George.” In the process, Mr. Lapine and the congenitally puzzle-minded Mr. Sondheim provide their own ironic speculations about who the people in Seurat's picture might be. the world look at art in a shocking new way. At a moment when government arts subsidies The latest incarnation is far less opulent. GeorgeMandy Patinkin Dot and MarieBernadette Peters Jules and Bob GreenbergCharles Kimbrough Old Lady and Blir DanielsBarbara Bryne Yvonne and Naomi EisenDana Ivey Celeste No. Instead of a showbiz figure's self-martyrdom, we get an artist's self-revelation.In Act I, this is achieved by a demonstration of how Seurat might have created ''La Grande Jatte.'' To preserve these articles as they originally appeared, The Times does not alter, edit or update them.Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.



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