By Brian Pope
The following is a piece I’d like to call “A Friday Evening in Point Park University’s Gorgeous New PNC Theater.” It may not be my masterpiece. It probably won’t revolutionize the craft. It certainly couldn’t inspire a hilarious, haunting, and introspective exploration of the creative process.
But, as Stephen Sondheim and James Lapine’s Sunday in the Park with George teaches us, there’s nothing wrong with that. Near the end of the show, Dot–arguably the most prominent subject of George Seurat’s “A Sunday Afternoon on the Island of Le Grand Jatte” and his lover/muse in this musicalized and fictionalized account of how that work came to be–sings “Anything you do/Let it come from you/Then it will be new”.
This paint-by-number production of the 1985 Pulitzer winner, presented by PPU’s Conservatory Theatre Company, enforces this. Unfortunately, save for a handful of lively performances and universally extraordinary design elements, this rendering, to quote another lyric, has “no life.”
Those words and a series of other clever insults are punctuated with condescending cackles by fellow artist Jules (Pierre Mballa) and his wife Yvonne (Yael Kroly) in reference to another one of George’s pieces. It’s par for the course for the kind of mocking and gossip that follow George wherever he works.
A century (and an act) later, the struggle for George’s great grandson (also named George) evolves with the times. He must curry favor with both his supporters and his critics in order to finance the unique technology-based sculpture medium he works in.
Alex Fetzko as George
Both Georges are on the brink of remarkable discoveries. George Sr. pioneers the painting technique called pointilism with A Sunday Afternoon while George Jr. finds the courage to keep creating by paying homage to his artistic legacy with a light machine (called a chromolume) and help from his grandmother Marie (a heartbreakingly warm Kayla Nicosia).
In a way, this production and director Michael Rupert do Sondheim and Lapine’s intention to truly bring the painting to life justice. The worlds of the island and of those who choose to spend their days off there are vividly realized. You understand why George is drawn to drawing these people. Whether they are portraying bumbling Americans trying to eat their way through Paris or a boatman trying to enjoy a peaceful moment on the grass, the ensemble do a wonderful job of playing up the hijinx of Lapine’s libretto to cut the show’s inherent headiness.
The vibrant ensemble in their natural environment
Celestes #1 (Sophie Aknin) and #2 (Mei Lu Barnum) share a name and a fantastic sense of comedic timing, especially when vying for the affections of two strapping (one mute) soldiers. Courteney McClutchy and Lielle Kaidar make another funny dynamic duo as the exasperated Nurse and the exasperating Old Lady, respectively.
In the second act, the ensemble has much less material to flesh out as the shallow party guests they’re playing. A lot of the dramatic weight lies squarely on the shoulders of the actors in the starring roles of the Georges and Dot.
While Alex Fetzko and Rachel Cahoon bear some physical resemblance to the show’s original stars, their characterizations are shallow where Mandy Patinkin’s and Bernadette Peters’ were miles deep. Ms. Cahoon, Mr. Fetzko, and Mr. Rupert failed to find any of the refreshing humor in Dot’s solos or the refreshing humanity in George’s. Vocally, they nail the couple’s climactic duets “We Do Not Belong Together” and “Move On,” but the sound resonates far more than the emotions do.
Alex Fetzko as George and Rachel Cahoon as Dot
Above all, what will stick with you the most from this production are its visuals. Michael Montgomery’s exquisite Act I costumes are incredibly faithful to the period and the painting. The incredible detail of his work set against the impressive scale of scenic designer Johnmichael Bohach’s can trick your eye into thinking you’re looking at the real thing when the cast assumes the poses from A Sunday Afternoon.
For Act II’s mid 1980s setting, Mr. Montgomery managed to make me nostalgic for a time I didn’t even live through by toning down the color and turning up the camp factor.
The jury may still be out on what a chromolume actually is, but Mr. Bohach, lighting designer Andrew David Ostrowski, and video designer William “Buzz” Miller’s interpretation of it is undeniably dazzling. Their creation truly harnesses the power of color and light in a way that George Sr. never could have imagined possible. Imagine all the best, most awe-inspiring parts of a Disney-made laser light spectacular without all the tawdry marketing.
The island itself has an arc. It goes from green and drowning in sunlight to cold and crowded with skyscrapers. Before anyone says a word or plays a note, the set and lights transport you not only to the natural location but also to George’s mind. The journey through the latter didn’t illuminate much for me as an artist, so I’m forced to turn to the side of me that is a critic.
This production is a rare instance where the frame is more valuable that the piece of art it holds.
Sunday in the Park with George runs through March 24 at the PNC Theater at the Pittsburgh Playhouse. For tickets and more information, click here.
Photography Credit: John Altdorfer
Brian Pope is a playwright and pop culture obsessive who has been writing for Pittsburgh in the Round since February of 2016. His plays have been produced by his own theatre company, Non-State Actors, as well as Yinz Like Plays?!, Pittsburgh Cultural Trust, and Pittsburgh Playwrights Theatre Company. He’s also served as dramaturg for City Theatre’s 2018 Young Playwrights Festival and as both stage manager and actor for Alarum Theatre. When he’s not making or reviewing theatre, he’s actively pursuing his other passions, listening to showtunes and watching television.
Categories: Archived Reviews