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| Seurat Pointillism Art |
Recently, I spent a Sunday in the park with George, Seurat, that is. Stretching the imagination some-what, this ‘Park’ is located in Escondido, more specifically, The California Center for the Arts in Escondido where a spectacular production of the Stephen Sondheim/James Lapine’s "A Sunday on La Grande Jatte" is being produced through March 5th.
The piece is his pointillist masterpiece “Sunday In the Park with George” as imagined by Sondheim’s lyrics and music and Lapine’s book in the 1984 musical of the same name. The musical is as captivating and on point as is the story of the artist and his relationships to his work and to the world outside: ‘Design, composition, tension, balance, light and harmony; bringing order to the whole’ (Georges’ words), are exactly what director T.J. Dawson brings to the stage.
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| "Sunday In The Park" finished painting |
Sondheim’s music is well, Sondheim. For the most part the story is sung through like an operetta. However, if you are not used to his atonal, rapid -fire lyrics and overstuffed narrative/dialogue, you might not be among his admirers but don’t let that get in the way of you missing this beautifully crafted theatre piece. There isn’t a weak link in this entire production. Every note is prefect, every voice could be heard (Jon Fredette sound design) understood and admired within the entire sixteen member cast.
On the other side of the coin, we have artist Seurat’s Neo Impressionism or Pointillism (using tiny dots of various pure colors, which become blended in the viewer's eye.), that pretty much rocked the art world and was recognized for decades. “Even Van Gough admired Seurat’s expansive palette (noting on a visit to Seurat’s studio the “fresh revelation of color.”
And the third leg in this production is the outstanding cast with Broadway seasoned Will Blum as the moody Seurat whose main concern was the focus of his painting, ever always mindful of his mantra: Design, composition, tension, balance, light and harmony; bringing order to the whole.’ Blum couldn’t be more suited for the task.
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| Cast of Sunday In The Park With George |
As resolute as he was on his painting, his private life was in shambles with his mistress, Dot (ironic) (Emily Lopez) who was also his kvetchy model. If she wasn’t complaining about the hot weather she was complaining about her dress being too tight. In back of all this complaining, was the fact that Dot wanted more from the relationship than he was willing to give, even if it meant ignoring his mother Marie who was in the park every day with her Nurse (Bethany Slomka. She and the disgruntled boatman (DeAndre Simmons) as he stretches himself along the grassy area of the banks.
But Lopez has chops that can knock your socks off as both Dot in Act 1 and Marie, Seurat’s grandmother, in Act 2.
Others fill in the scenery as Seurat is concentrating on his picture. Tucker Boyes the coachman Franz and his wife Frieda (Debra Wanger) argue, and a pair of American tourists complain about Paris while stuffing pastries in their mouths. There is talk of whether or not the new Eiffel Tower would change Paris and ruin their view of the scenery. In the time it took for Georges to finish his masterpiece the Tower was completed. He began this work in the summer of 1884.
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| Emily Lopez and Will Blum |
Other characters who interrupt, coming and going include: his painter friend/ mentor Jules (Nicholous Bailey) who is very critical of his work and predicts it will go nowhere, his snobbish wife Yvonne (Zanna Wyant), their feisty yet petulant daughter Louise (Catherine and Elizabeth Last) and the two soldiers (Juan Danner), one flesh and bones and the other painted onto the , Louiscanvas that the two Celeste’s (Tori Stamm and Liliana Rodriguez) fight over. ("Gossip")
They all eventually became part and parcel of the finished product as they move in and out of the painting in the appropriate costumes (Janet Pitcher doing an amazing job as usual and Peter Herman, hair and wig design). Over the course of time the now pregnant Dot is resigned to the fact that George will never marry her so she turns to Louis a baker (Elias Wygodny). She eventually ends up marrying him, and they move to New York but the child she carries is Seurat’s. ("We Do Not Belong Together")
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| Emily Lopez and Will Blum |
Patrick Gates spectacular projections on scrims and canvases along with Michelle Miles sharp lighting design tell most of the story that is interrupted with song and narrative when first a white backdrop is revealed. Trees and water, sail boats and women with parasols can be seen emerging from the scrim when Seurat removes one of the trees from the bank giving way to what eventually becomes the framework for his piece. He labored over every dot and color combination for two years until he got it right.
At the end of Act1, a most beautiful tableau emerges, the actors line up in their places as the finished painting comes into light that brings a soft hush throughout the theatre. It is stunning and breathtaking collective silence that brought me to tears as the company sings “Sunday.”
The second act takes place one hundred years later. Seurat’s painting is by now famous contradicting all his critics. Act II transfers to a Gala at the Museum of Modern Art where the guests debate about politics and art.
As the curtain goes up, we are privileged to see the full orchestra under the deft direction of Elan McMahan who never disappoints.
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| Will Blum as Seurat |
In this setting (George Gonzalez) we are introduced to George and Dot’s great grandson George (played by Blum) who is also an artist, but one of a different ilk. He is a digital sculptor who has invented a light machine he calls Chromolume #7. It is a laser machine that he claims is an ‘artistic reflection’ on his great grandfather’s painting, (“Putting It Together”) but he’s frustrated at what is now required of the commercial artist/painter having to do all the non-artistic work.
All the characters in Act II (“It’s Hot Up Here”) are the same as in Act I but take on different, if not similar characteristics as the new characters emerge. Lopez is now Dot’s daughter Marie the 98 -year old wheelchair bound great grandmother urging George to “Move On”. Others are similarly placed in the modern world and in character. The second act ends as the first with all the players lined up making his detailed picture a vision to remember: ‘Design, composition, tension, balance, light and harmony. (“The Art of Making Art”.)
It comes alive in all colors reflecting the moods and seasons of the artist’s life in all its chaos yet seamlessly flowing from one painting to another, from one Sunday to another over the course of two years under the watchful eye of the painter. “Sunday”.
CCAE, new to the community, in this its third production is spoiling San Diego and surrounding communities to expect excellence as its first three productions have already won awards from The San Diego Theatre Critics during its Award ceremony just recently.
Sondheim, as mentioned earlier might not be your cup o’ tea. But you will be cutting off your nose to spite your face if you miss this one.
When: 7:30 p.m. Fridays. 2 and 7:30 p.m. Saturdays. 2 p.m. Sundays. Through March 5
Where: CCAE Theatricals at the California Center for the Arts, Escondido, 340 N. Escondido Blvd.
Tickets: $35-$85
Phone: (760) 839-4138
Photo: Ken Jacques
Online: artcenter.org
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