Sunday in the Park with George

by Stephen Sondheim, James Lapine

Book by James Lapine Introduction by André Bishop Winner of the 1985 Pulitzer Prize! "Sunday is itself a modernist creation, perhaps the first truly modernist work of musical theatre that Broadway has produced ... a watershed event that demands nothing less than a retrospective, even revisionist, look at the development of the serious Broadway musical."- Frank Rich, The New York Times Magazine

Genres: Plays, Theatre, Drama, Musicals, Music, Fiction, Art

224 pages, Paperback

First published November 30, 1983

About the author

Stephen Joshua Sondheim was an American musical and film composer and lyricist, winner of an Academy Award, multiple Tony Awards (seven, more than any other composer), multiple Grammy Awards, and a Pulitzer Prize. He has been described as the Titan of the American Musical.

His most famous scores include (as composer/lyricist) A Funny Thing Happened on the Way to the Forum, Company, Follies, A Little Night Music, Sweeney Todd, Sunday in the Park with George, Into the Woods, and Assassins, as well as the lyrics for West Side Story and Gypsy. He was president of the Dramatists Guild from 1973 to 1981.

Reviews

[Frankie Frabizzio · Rating 5 out of 5]

Since I’m practically living inside this painting as of late, I think it’s only right that I rate this masterpiece. There’s nothing like it. Do yourself a favor and accept this magical piece of media into your life. So beyond wonderful. The perfect musical.

[Eva B. · Rating 4 out of 5]

4.5 stars. I found the second act a bit weak but I love the lyrics and the commentary on art and being an artist.
There is nothing cuter than Bernadette Peters' little "woo!" in Color and Light when she goes "I'd be in the follies/I'd be in the cabaret!". On a related note, I really love Dot.

[Katherine · Rating 4 out of 5]

I read through this along with listening to the 2017 revival soundtrack and I cannot recommend the experience enough. Inspiring.

[Emma Vandine · Rating 5 out of 5]

Deeply moving and layered with so much meaning. If you aren’t paying close attention, you just might miss it or not fully appreciate it. Sondheim truly had a gift for expressing profound ideas about life and art with just a few simple words. It’s just perfection.

Also, the build at the end of “Sunday” is one of my favorite musical theater moments of all time. I don’t even know how to explain it, but it just overwhelms me with feeling in a way that only a musical score can do. Moments like that are why I love musical theater so damn much.

[Jimmy · Rating 4 out of 5]

I love the work of the painter George Seurat. His pointilism always fascinated me. He painted with dots of different colors so that our eyes would make out a color of the combination. I always taught Seurat in my philosophy class when we talked about perception.

There is a touch of environmentalism here as well. An old woman bemoans the loss of the trees and grass. One tree is left standing at the end in the twentieth century leaving them to wonder if it is one of the original trees from the painting.

The entire play can be watched on YouTube with Mandy Patinkin and Bernadette Peters.

[Mackenzie Elisa · Rating 5 out of 5]

Easily one of Sondheim’s best scores

[Lily · Rating 4 out of 5]

Another great script that I enjoyed reading! This one included pictures of the stage and costumes, which helped me picture how the set-up might have looked. I loved the musings throughout on creating reality, from the old lady's creation of her own past through her memory loss to George literally creating the scene around him and immortalizing his own perception of reality in his paintings. The different perspectives on this, people's opinions on how George or other artists saw them, added another layer to that, especially the Boatman's perspective. All of this gave me a lot of food for thought about art, and how artists view or create reality.
The dynamic between George and Dot was also interesting, with George always seeing her but not seeing her, and in the same way, Dot seeing what she wanted in George. I loved the tension between them, and their ending.
However, I didn't like the second half, and the second act's ending felt way too similar to the first act (though the addition of George's grandson's realization was nice). Most of the second act just felt really disconnected from the rest of the show, though its discussion of modern art added a layer to that discussion of why create art as a whole — Sauret's battle with Jules that is ongoing still.
There's so much to discuss with this musical, and I had a great time reading the script. Excellent!

[Jack Barrett · Rating 4 out of 5]

Another fabulous show; it’s only real drawbacks being in it’s intentional obfuscation if it’s side characters in act 2. Truly the full story of only 2 characters is actually given full life, Georges and Marie, one of whom was an infant in act 1.

But as I said this was intentional. We are given stories of these background characters of a painting which, after they are captured eternally in that moment, are never revisited. It does not matter what happens next or what happened before after that point, cause they’re only ever going to be known through that lens by anybody in the modern age. In an artistic choice that really is more brilliant than frustrating. Definitely would recommend this one, an incredible read for those of us who can’t see musicals on Broadway or the West End or any big places like that.

[Lucy · Rating 5 out of 5]

I don't know if these count as books, but I don't know...unlike Sweeney Todd or Into The Woods, this show isn't perfection all the way through and has some weaker (or less interesting at least, moments).

I would still give this five stars because some sections of Sunday contain literally my favorite words written in anything ever. The lyrics of Move On are so close to my heart and feel so reassuring. The statements are obvious in their ideas, but the way sondheim words them turns them into revelations somehow.

[Shanelle · Rating 5 out of 5]

"The choice may have been mistaken, the choosing was not"

There will only be one regret that I have in this life and it is the fact that I was not born any sooner to be able to witness the live mastered artistry of Bernadette Peters and Mandy Patinkin singing me into transcendence on this stage. I can't get through 'Move On' without a thousand emotions piercing me through my heart. Well played, Sondheim.

[Lauren · Rating 4 out of 5]

Apparently 1985 was the year the Pulitzer Committee decided that plot was not a prerequisite for a nomination. All three nominees are more about ideas and concepts than storytelling, although of the three, I found Sunday in the Park with George the most interesting – and the closest to having a more traditional plot.

At its heart, Sunday is a story of art, of how we create and interpret art, of what art means and how we judge it. Sunday is a play about art written by artists and for artists. The first act – which went through a longer development period – is considerably stronger, especially as the second act relies a bit too much on intellectual talking points. Recommended.

[Sonya · Rating 5 out of 5]

I’ve always thought this musical was brilliantly beautiful and reading through the libretto just solidified in my mind the genius of the whole piece.

The “Putting It Together” scene so encapsulates what is to be an artist and what it means to “make it”. It is simple and beautiful and I just can’t stop using the word genius.

How I wish I would have been able to see this piece of art when it was originally on Broadway.

[Brianna (Breathe, hope, books) · Rating 3 out of 5]

Another case of “i’m sure i would enjoy this more if i actually saw it performed.”

[Martin Denton · Rating 5 out of 5]

The first act of Sunday in the Park with George concerns the creation of Georges Seurat's painting A Sunday Afternoon on the Island of La Grande Jatte. The authors deal freely with the life and identity of the painter, whom they simply call George; no claim to any kind of accuracy is put forth by Stephen Sondheim and James Lapine in their lush and fanciful imagining of how the picture came together or, more importantly, who the people in it turn out to be.

Scenes alternate between this park in the Seine—where George sketches the disparate passersby who eventually will inhabit his painting—and George's studio, where he fills his enormous (10-foot wide) canvas with tiny dots. The governing principle of the painting is what we now call pointillism, here explained in the play by George to his friend/rival artist Jules:

GEORGE: What is that color?
JULES: Violet.
GEORGE: See? Red and blue. Your eye made the violet....your eye is perceiving both red and blue and violet. Only eleven colors—no black—divided not mixed on the palette, mixed by the eye.

Jules doesn't understand what George is doing, but George doesn't care. "Why should I paint like you or anybody else?" he asks. "I am trying to get through to something new. Something that is my own."

In counterpoint with George's work, we meet his mistress Dot, who eventually abandons him because, as he himself admits, he cannot look up from his canvas; she is pregnant with their child but marries a baker, Louis, who takes her to America. We also meet many of the other people who are in the painting, and eavesdrop on the little dramas they play out on their Sunday afternoons in this park. None of these is ever resolved; but importantly the painting is resolved, and it is gorgeously re-created on stage in the tableau that ends Act One.

In Act Two, George's great-grandson, also named George, is an American artist/inventor who is unveiling his newest work, a tribute to Seurat's painting called"Chromolume #7." George's grandmother, Marie is looking forward to journeying to Paris with George, to the island in the painting, where the Chromolume will receive a showing. George is seriously blocked in his work, and it is on this journey back to the island where he finds the inspiration he needs as the first George's muse, Dot, appears to him:

GEORGE: I want to make things that count,
Things that will be new....
What am I to do?
DOT: Move on.

I love this material: it is surely one of Stephen Sondheim's finest scores and, despite some second act problems, James Lapine's strongest libretto. Its themes of artists searching for connection and for new ground to break are resonant and beautiful. The original Broadway production in 1984, which I saw three times, remains one of my cherished theatre memories.

[Jessica · Rating 4 out of 5]

I'm sure this is much much better on stage, but even as a script it's a fascinating look at the nature of art and the artist. The first act follows the french painter, Georges Seurat as he paints his most famous painting, A Sunday Afternoon on the Island of La Grande Jatte. As someone from Chicago, I'm very familiar with this work (it hangs in the Art Institute of Chicago, where my mother was a member and later docent). Throughout the act, we see all the characters depicted in the painting as real characters with relationship to Georges. Most important is his lover, Dot, who poses for him without enthusiasm. But we see that Georges chooses his art over any of the other characters and lets Dot leave to marry another man, even after she becomes pregnant with his child.

In Act II, we follow Georges possible great-grandson, another artist named George, as he exhibits his own tribute to Seurat's famous painting. He brings along his own grandmother, Dot's daughter and probable daughter of Seurat. Much like his great grandfather, George has trouble connecting with others and has clearly chosen his art over others, as made clear by the character of his ex-wife. But unlike Seurat, who wasn't a huge success in his lifetime, this George is a success, but has been repeating similar artwork for years and struggles to do something new.

I'm excited to watch the film of the Broadway cast because I'm sure the songs add so much. I love the idea of Mandy Patinkin and Bernadette Peters as the leads.

[Antonio Castagna · Rating 4 out of 5]

“Yes, George, run to your work. Hide behind your painting. I have come to tell you I am leaving because I thought you might care to know. Foolish of me, because you care about nothing.”

Leer este libreto mientas escuchaba el soundtrack tiene que ser una de las mejores experiencias jamás. 100% recomendado.

Si bien considero que el primer acto de esta obra es de los mejores musicales que se han hecho jamás, con una composición musical magistral de Stephen Sondheim y un libreto simplemente precioso, el segundo si resulta mucho más flojo en comparación, aunque acaba llegando a una conclusión satisfactoria y hasta conmovedora.

Durante la primer mitad, los personajes son totalmente memorables, sus historias entrañables, y las canciones simplemente deslumbrantes y es imposible no quedar enamorado de esta narrativa y sentirse absolutamente inmerso como audiencia. Es por esto que, en el segundo acto, un cambio tan abrupto en la historia realmente daña el peso de la misma. Se siente pesado, denso, y largo, muyyyyyyyyyyy largo. Y aunque ofrece una critica interesante sobre la interpretación del arte y lo que es el trabajo de un artista, siento que no se pueda destacar mucho más que eso y realmente no tiene nada que ofrecer.

Aún así el primer acto es TAN bueno y la música tan fantástica que no me importa! 4/5!!!

[Suz L · Rating 5 out of 5]

“White; a blank page or canvas. His favorite. So many possibilities…”

i love reading plays before i’ve seen them because i feel a fresh perspective. i like being able to study the text, see the words on the page and imagine for myself what i would create. it’s like the opening and closing lines say: so many possibilities…

the journey of struggling artists being told in two timelines, and the world’s perspective from the outside.

a show of sondheim’s genius - Pulitzer prize winning music and lyrics. the chords crunch and blend, harmonies crafted with care, every word spoken with conviction and purpose.

quick read, about 2-3 hours depending on if you choose to listen along to the soundtrack.

purchased used at powell’s books, $10.95.

8.6/10

[sophia · Rating 5 out of 5]

this was utterly insane. and it was insane because it was so simple. it made me feel things that i didn’t even know were possible to feel. i actually like envisioned this whole entire show so clearly in my mind because of how WELL written it is.

listening to “sunday” evokes an emotion that is like other-worldly. it should not even be possible feel the things that song makes me feel.

perhaps my favorite work of sondheim ever (i say this after every new sondheim show i read). no but seriously. i’m aghast! it was just so good. so so good.

also i finished this on a literal train ride to paris

also i <3 mandy patinkin and bernadette peters so much

[Nell · Rating 4 out of 5]

There was something so comforting about the music of this show, most of which I hadn’t listened to attentively before. And as a cog in the corporate machine, the line “work is what you do for others; art is what you do for yourself” really got me.

The songs make a lot more sense in context.

Would like to spend more time w the book/music. Rating may be adjusted.

Honorable mentions:
“And he never tells me his dreams.” “No one is you and no one can be, but no one is me, George. No one is me.” “Draw us before we fade.” “There are only two worthwhile things to leave behind when you depart this world: children and art.” [Sunday theme] [arpeggio motif] [the last 9 pages]

[Ruben Jespers · Rating 5 out of 5]

Scenario van mijn favoriete werk ooit. Sondheim is een poëtisch, muzikaal genie en weet tot de kern van emoties te komen en de complexheid te schaven. Half zingend gelezen en heb zoveel zin de captatie nog eens te kijken. Wat een geweldige teksten!

« George is afraid.
George sees the park.
George sees it dying.
George too may fade,
Leaving no mark,
Just passing through.
Just like the people
Out strolling on Sunday… »

[sophia · Rating 5 out of 5]

an examination of how one can get lost in the art of making art, purpose of art, value of art, beauty of art

tbh i liked this a lot more than sweeney todd. it inspired me more and i even cried with “finishing the hat” and “sunday”

very beautiful musical, glad i picked it up even if we didn’t choose it for class

[Andrew · Rating 4 out of 5]

Spectacular production by the Guthrie - a marvelous work

[Kara · Rating 5 out of 5]

I finished the...book.

[Libby · Rating 3 out of 5]

3/5 read for CCSF class

[Dave · Rating 4 out of 5]

I finished reading this musical this afternoon and on the evening news I learned of Mr. Sondheim's passing. Moving on . . .

Ironic.

[aloha hal ✨ · Rating 4 out of 5]

I enjoyed watching much more than reading, but it all translates very well.

[Sasha]

especially act I

[B · Rating 4 out of 5]

“White. A blank page or canvas. His favorite. So many possibilities…”

[Bobby Sullivan · Rating 5 out of 5]

I love this show. Definitely one of my favorites of Sondheim.

[Bia · Rating 5 out of 5]

there’s only color and light