Sunday in the Park with George (Broadway) NYC Reviews and Tickets

"Something deeper than love — closer to religious gratitude — is the sentiment you may experience in the finale that concludes the first act of the marvelous revival...This interpretation comes across with more personal, in-the-moment intimacy than any I’ve seen...Mr. Gyllenhaal invests every note he sings with the rapt determination of someone trying to capture and pin down the elusive...Ashford's performance at City Center was charming; this time, it’s much more than that."
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"Sondheim’s plangent, soaring score sounds marvelous. If Sarna Lapine’s budget staging reminds you that this version began as a concert, at least you can get lost in the music...You will be suitably swept away by Gyllenhaal’s passionately acted, exquisitely articulated George, the most psychologically cohesive and sympathetic rendition I’ve witnessed live...'Sunday' remains a masterpiece that affirms the painful, isolating joys of creation, and the need to learn new lessons."
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"Bare-bones but beautiful...Sondheim’s songs are so profound that they feel as if they had left the realm of lived experience and entered a Keatsian plane of absolute truth-beauty...It’s hard to keep your eyes off Gyllenhaal. But the performance is not as effortless as it might be...He is unable in Act Two to escape the interiority of the writing of modern-day George, and so the drama, always tenuous by this point, leaches out. Or would, were it not for the compensating talents of Ashford."
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"The production has elevated an affecting work into something quite rare and exquisite. Jake Gyllenhaal and Annaleigh Ashford bring richer shadings and startling emotional candor to their dual roles, supported by a gifted ensemble...Staged with grace and fluidity by Sarna Lapine...I don't recall ever experiencing the binding unity of creative vigor and purpose with such piercing solitude that Gyllenhaal brings to the two parts."
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"One need not know Seurat to enjoy this enchanting production. Jake Gyllenhaal, bearded and intense with a rich singing voice, makes the character understood immediately...This production is smartly directed by Sarna Lapine, with an economical staging based on her 2016 concert version...This stripped down 'Sunday' doesn’t lack for its own theatrical delight and instead lets the characters’ yearnings fill the frame."
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"Under the direction of Sarna Lapine, the staging is more theatrically structured than it was at City Center, with its stools and lecterns. But even as retooled, the show retains the quality of serene simplicity that heightens the poignant beauty of the score...If it weren’t for Gyllenhaal’s inherent charm and the affection of Ashford’s doting Dot, the artist’s commitment to his art ('I cannot look up from my pad') might not compensate for his overwhelming self-absorption."
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"I felt unconstrained by the show’s built-in artifice and was swept up by the vitality and simplicity of this production...Jake Gyllenhaal as George is thoroughly convincing, his singing and acting of a piece...The production itself, directed by Sarna Lapine, avoids letting Mr. Sondheim’s self-grandiosity seem grandiose...This fervent, enticing production also reveals something latent in the musical that is more intriguing and all-too-rare: an abiding faith in the powers of art."
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"Revelatory...This is a spectacular revival and the principals are simply breathtakingly good. The performances are assured – indeed, they’ve only grown in confidence. Moreover, the semi-staging by Sarna Lapine reveals (as if we needed reminding), one of the most beautiful, moving and endlessly inventive scores ever written, not to mention the equally ambitious and rewarding book that frames it."
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"Gyllenhaal adds vital, measurable wattage on the masculine half of the musical ledger...Gyllenhaal and Ashford create the kind of lust-driven connection that just may rise above the memorable heat generated by Mandy Patinkin and Bernadette Peters...Deftly guiding a 20-member cast through a musical that delves movingly into the ways visual artists teach us never to take for granted what’s in plain sight, the director reminds us again of Sondheim’s own unstinting art."
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"An iconic and justly beloved musical...Gyllenhaal is at once distinctive, self-effacing and the boldest choice made in this uneven if intriguing production...The actor can certainly carry the musical demands of the show, but not with bravura flourish, for he does not have that kind of voice...Lapine's overall approach is a perfectly justifiable and resonant way into this show and, I'd wager, a closer match for where Lapine and Sondheim are with regard to their midlife show."
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"Jake Gyllenhaal’s got it, by George! A handsome, nimble singing voice to go with his solid acting chops, that is...Its power to stir the heart and head with its radiant score and unfading story about the art of making art — and love — is as strong as ever....The staging by Sarna Lapine remains efficient and spare...The stars are even better than before...A fine supporting cast that includes Robert Sean Leonard, Penny Fuller and Ruthie Ann Miles helps connect all the musical dots."
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"A superb revival...'Sunday' is a complex, rich and extremely rewarding work of art...It is a simple presentation that lacks the visual thrills of the original production. However, storytelling is focused and the score (played by a full orchestra) sounds as glorious as ever...Gyllenhaal’s Georges is sensitive, wounded and even sympathetic...As Dot, Ashford gives a bold performance in which she employs her comic abilities to superb effect but is also sexy, vulnerable and heartbreaking."
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"A beautiful if somewhat abstract riff on creativity...No matter what one thinks of the show, it's pretty hard to find any fault with the performances, led by the uber-talented Jake Gyllenhaal and Annaleigh Ashford...'Sunday In The Park' won't appeal to everyone. But fans will not be disappointed. Director Sarna Lapine, employing state-of-the-art projections, delivers an immaculate production combining art, science and poetry in perfect harmony."
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"The music is the real star in this solid revival of a modern classic...Thrillingly, the chorus has improved tenfold since the concert reading at City Center...While the formality of Lapine's script gave the City Center reading a sense of excitement akin to discovering an old diary buried in the attic, it feels stilted in this more polished production. Director Sarna Lapine has rehearsed the life out of a staging that previously felt fresh and new. Luckily, the two leads are a major exception."
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"Its comparatively modest production values allow more focus on the excellent acting and the superior quality of the incisive words and emotion-draining music. This is one of the American musical theatre's finest literary creations...Jake Gyllenhaal's formerly soft take on Seurat has developed more desperate dimensions. Aided by a much stronger singing voice, he gets the point across that Seurat sees his own self-worth in his creations...A sparkling production of an important musical."
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"Two stellar lead performances, an exceptionally fine supporting cast, and some of Stephen Sondheim's most ravishing songs...'Sunday in the Park with George' is, arguably, the most daring piece in Sondheim's canon...The most disappointing aspect of Lapine's production is its sheer lack of visual appeal...Still, fans of this landmark musical will want to collect the performances of Gyllenhaal and Ashford; they'll also relish the opportunity to hear the score sung by a first-rate company."
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"A beautiful if low-key revival...Act II has never been more essential or more moving...The direction of Sarna Lapine is on the lean and informal side, and does not match Gyllenhaal's fire...The acting can be a bit on the unusual side, too...No one is ever unwatchable, or for that matter less than correct, and when they unite in song, never more than when 'La Grande Jatte' assembles in the Act I finale 'Sunday,' they could not be more right."
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"A mystical, magical production...The surprise is Gyllenhaal’s impressive musical debut on Broadway and the lovely timbre of his warm tenor completing the package. Ms. Ashford is, as they are wont to say, simply divine...Sensitively directed by Sarna Lapine and eliciting a misty eye more than once in this fantastical fantasy."
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"This radiant revival with a full onstage orchestra features a charismatic performance by Jake Gyllenhaal...Gyllenhaal holds us spellbound with his confident singing voice and his intense, riveting gaze...Directed by Sarna Lapine, the show flows with ease and grace…As for the challenging Act Two that takes place generations later in Chicago (with Gyllenhaal as Seurat’s grandson and Ashford as Seurat’s daughter), the creative team provides a stunning finale."
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“The great score, brilliant lyrics and witty storytelling make for a one-of-a-kind theatrical feast to be relished by anyone interested in musical theater…The current production is a treat whether you've seen it before or not…Gyllenhall's lyrical tenor voice and acting are as rich and colorful as those pointillist dots we see him dab on his canvas…The equally remarkable Ashford brings thrilling vocals and a great depth of feeling to the bittersweet artist-model romance.”
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"A jewel in its own right, radiant with talent, and shimmering with color and light...Heading a stellar, multi-ethnic supporting cast as well as Sondheim’s achingly beautiful musical score...This production will hold you enraptured throughout and leave you nearly spent of all emotion at its conclusion...This is a production for the ages, as good as it gets, a performance so exceptional, so overwhelming, you might be lucky enough to see something like it once, maybe twice in a lifetime."
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"Inarguably one of the greatest musicals of all time, it doesn’t take very long into Sarna Lapine’s revival to realize why this show needed to be back on Broadway: it’s become an allegory about the existence of musical theatre itself in an era of moral decay and ugliness prevailing over beauty...This 'Sunday' now belongs to everyone, the musical, like the painting that inspired it, having become just another dot in the pointillistic wonder that is creation."
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"It’s hard to fathom but this Sondheim masterpiece has only gotten better...First and foremost, Jake Gyllenhaal is spectacular in the role. Once again, he is devastatingly good right from the beginning...Ashford, just like in the fall, still took a bit more convincing. I still struggled a bit with her too modern and American tone, but at moments it felt more appropriate for the part than either Bernadette Peters or Russell...The rest of the cast is also creating something spectacular."
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"The musical strikes a resonating chord—both in terms of its exploration of the creative process of making art, as well as the personal relationships that can crumble in its wake...Ashford is adept at interpreting lyrics and Sondheim gives her a full sandbox to play in. Gyllenhaal, too, is not afraid to approach the score with riveting intensity...'Order. Design. Tension. Balance. Harmony'...These words appear so simple. But it takes masters like Sondheim and Lapine to bring them to life."
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"One of the most profound musicals ever written...Gyllenhaal makes these iconic roles his own...Many of Sondheim’s songs here, while not altogether conventional, are among the finest ever penned for theater...It’s true that Gyllenhaal and Ashford basically do all the metaphorical heavy lifting here, but one must be grateful for the star-studded supporting cast...Go with your gut and don’t miss this rare opportunity to see this very special production of a very special show."
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"Faultlessly sublime...This is a night of theatre, I will never forget. It is no wonder Sondheim and Lapine won the Pulitzer Prize for this masterpiece...With Jake Gyllenhaal as George, your heart aches...His vocals are impeccable...Director Sarna Lapine directs this 20 member cast with fluid aplomb...Lapine’s book is faultless now and Sondheim’s magnificent score reaches even farther into our beings, to transport us to musical heaven."
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"'Sunday' plays exceptionally well at the intimate and altogether glorious Hudson. Gyllenhaal is very good...Sunday reveals Ashford as a full-fledged musical comedy star...Sarna Lapine has done a good job of adapting and enlarging her City Center staging...It is Gyllenhaal who not only sells the tickets but gives a compelling and welcome performance. He, Ashford and the rest—including, most certainly, Sondheim—make this a 'Sunday' to see."
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"What most impresses is Gyllenhaal's gift for understatement as an actor...It’s difficult for an actor to make that kind of slow-burn concentration theatrical. Gyllenhaal makes riveting...Sarna Lapine’s direction in the first act is serviceable in its spare Encores! approach, but she doesn’t find the necessary shape or concept to hide the flaws in Lapine’s second-act book. Fortunately, Sondheim’s score only gets better in the second act, and also there’s the delightful Ashford."
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"The production is simple and direct. Stripped to its barest essence, the musical becomes an emotional feast as well as an intellectual one...Gyllenhaal proves you can be a major movie star as well as a musical talent...Gyllenhaal widens his range with a dazzlingly intense vocal and dramatic rendition of George’s conflict between his art and his personal life. Annaleigh Ashford displays exquisite pipes, timing and presence."
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"Every once in a rare while, the theater rewards us with a kind of transcendent experience...Jake Gyllenhaal and Annaleigh Ashford step up alongside Mandy Patinkin and Bernadette Peters in the treasured place where I keep memories of the original 'Sunday in the Park With George.' They are that good...The production is less extravagant than others, but no less magical...The rest of the cast is equally splendid."
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"With just a simple approach, every element here feels precise and correct...Ashford is marvelous...She’s so good and so gracious with Gyllenhaal that they really feel like a team up there...Gyllenhaal is excellent, surely acting this role as well as anyone ever has...They connect their two roles so seamlessly that the show has never felt so whole and complete to me, a unified work of perfection...Marries melody and lyrics and intellectual ideas with heartfelt emotion."
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"Terrific production—by which I mean everything and everyone involved it is terrific...If Gyllenhaal and Ashford are the name draws, don’t be surprised when you fall absolutely under the spell of the entire ensemble...The actual artistic installation, 'Chromolume #7,' is the most stunning visual aspect of this production...much like the production itself, mesmerizing and beautiful to watch."
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"Gyllenhaal is a very good actor and sings surprisingly well, but neither he nor the amusing Ashford can lift the skimpy, pedestrian production to the sublime level of the two previous Broadway presentations of the show...A production needn’t be opulent, but it also shouldn’t look like something improvised in a suburban backyard. The direction by Sarna Lapine is routine, except she whiffs on the production’s big moment."
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"The characters and their interactions all seem purposely one-dimensional, as if Sondheim and librettist James Lapine have taken the painting’s flattened perspectives a bit too literally...Sondheim’s vaguely dissonant, percussion-rich music is more successful at conveying the troubled modernist spirit of his subject’s work. But in the absence of a strong narrative the numbers seem mostly interchangeable...The drama suddenly bursts into life after the interval."
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"The production dazzles with a superb performance by Jake Gyllenhaal, a movie star who until now has pretty much kept his musical theatre talents under wraps...The realization of the Chromolume, with its dots of light floating over the audience, is thrilling, and the performances of Gyllenhaal and Ashford continue to inform the work beautifully."
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"In the age of jukebox musicals, a show that overreaches is extremely welcome, especially since it’s filled with such glistening insight, humor, and music, all centering on the attempt to make harmony out of chaos. Gyllenhaal brings arresting gravitas (and some wacky lunatic genius) to George...The original production remains the best, but this one—directed by Sarna Lapine—has an interesting take on the concepts of 'putting it together,' 'finishing the hat,' and moving on."
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"We get not just humanity and warmth, but intimacy, tenderness, bursts of humor, and flashes of tremendous beauty -- we get, in effect, as accomplished a production of 'Sunday in the Park with George' as we are likely to ever see...What could be a mere exercise in coy postmodernism becomes something moving and true...This revival makes the strong case that 'Sunday in the Park with George' is Sondheim's crowning achievement."
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"Gyllenhaal’s performance is one of quiet brooding and delicate anguish...Director Sarna Lapine has taken a minimalist approach. Her production is a crisp but nuanced interpretation. It may feel a touch restrained in comparison with showier productions, but it boasts a skillful ensemble of stage vets alongside vivid projections of Seurat’s work by Tal Yarden...The wondrous Chromolume in Act II bursts with life, nearly stealing the show."
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"It's a strange, compelling musical...But unfortunately, under the tentative direction of Sarna Lapine, niece of book writer and original director James Lapine, we get a muddle that lacks an organizing vision...There's a lot to like here: sumptuous costumes; a dazzling, second-act light show that left audience members gasping, and tremendous talent on stage. But without a unifying vision, it all just falls apart into shiny dots of color instead of combining to become art."
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"Challenging but evocative...Gyllenhaal has the colossal task of playing the roles originated by Mandy Patinkin. His approach is powerful in its subtlety...Harmony and connection, two words that pop up repeatedly in the show, abound, not just between the leads but among the entire 20-person ensemble. Gyllenhaal may be the main draw for ticket buyers, but this heavenly production is stronger than any one star."
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"What is truly remarkable in this production is Gyllenhaal...He brings a charisma to both Georges that eliminates a lot of the detachment one feels in 'Sunday'...Equally adept is Ashford, who brings a delightful innocence and smarts to her characters...Director Sarna LaPine has cleverly filled the stage with a great supporting cast...However, the detachment of the piece, even with the best of efforts and intentions can never be eliminated."
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"A perfect fairy tale for adults...In this beautifully staged production, the emotional pull of George and Dot’s love story overrides the intellectual. This is due in large measure to the altogether charming lead performances of Jake Gyllenhaal and Annaleigh Ashford...This 'Sunday in the Park With George' is about as perfect as a semi-staged concert version of musical theater can get - a transcendent delight."
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"Gyllenhaal is outstanding. The even better news is that he's at best the third most compelling thing on stage...The most striking performance in this revival comes from Annaleigh Ashford...The staging, by Sarna Lapine, is exceedingly straightforward...There is no coup de scenery, in the musical's gorgeous Act One climax...But the material is so strong, and the cast so good, that this Sunday remains deeply affecting...Like Seurat's painting, it is, and remains, a masterpiece."
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"With its orchestra visible behind a scrim upstage, Sarna Lapine's production holds many beauties but sometimes seems cramped when the full cast is onstage...The show's principal assets are its two leads, Jake Gyllenhaal and Annaleigh Ashford...But beyond all these, the star, manifestly, is Sondheim: What a paradox that a musical so full of humanity and light could be built on the relentless exactitude of his inner questing."
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"Ashford delivers a subtle performance–as serious as it is humorous. Gyllenhaal, however, is masterful in his own right....There is an essential nostalgia to the production that is belied by the uniqueness of its style. Indeed, there is no other musical like it, still it stands on the shoulders of all great musicals...Helmed by Sarna Lapine, there is genuine daring to her directorial concept, which underplays the romanticism of the musical composition...It is all simply divine!"
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“I find this musical so brilliant, it's hard to even write about it coherently…It was extremely intimate and personal and made each performance choice and song lyric stand out…Each of the performances were also so detailed and so lovingly portrayed...I thought Gyllenhaal was amazing and I just can't get over his wonderful singing. Not only does he have lovely tone, but his diction of the incredible lyrics was perfect…Annaleigh Ashford was a wonderful Dot.”
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"The actor’s performance, as the kids say (please forgive the pun), is quite on point...Gyllenhaal’s performance unveils seemingly endless surprises...In the hands of a less skilled actress, Dot and her scant backstory could easily become a trope of a discontented lover, but Ashford’s warmth and generosity mold this into an asset for her character...Ashford and Gyllenhaal are joined by a cast of Broadway veterans, including a skillful Ruthie Ann Miles and an amusing Ashley Parkas."
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"Sarna Lapine delicately brings the pieces of the show together and enables the main characters played by Mr. Gyllenhaal and Ms. Ashford to demonstrate the right chemistry to make their performances outstanding...This is a wonderful performance but the slow pace at times and the words and music may not appeal to all audiences. But, this is an experience which should emote pathos with the audience as well as satisfaction."
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“Gyllenhaal brings an organic intensity to the role of George and nails Sondheim’s complex phrasing with aplomb…What makes ‘Sunday’ arguably Sondheim’s best musical is how it works seamlessly on different levels. It’s a vividly imaginative peer into the creative life of a famous artist but also a heartbreakingly personal account of what it’s like to love someone who’s on a markedly different path.”
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“In my opinion, this is the most perfect score ever written for the musical theatre. The complexity of Stephen Sondheim's work, and the way in which it mimics Seurat's pointillistic style, is a marvel. It is highbrow and cerebral, yet also emotionally resonant and accessible...Ashford was able to mine out every little nugget of comedy…Jake Gyllenhaal is thoroughly impressive as George. You'll be shocked when you hear him sing.”
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"Gyllenhaal turns out to have a wonderful singing voice that brings passion to Sondheim’s complicated (and glorious) score. This musical may be about art, but the terrific chemistry between Gyllenhaal and Ashford makes it more than ever about love, too...'Sunday In the Park with George' is such a gorgeous musical that I worried if it could be as good as I remembered it. And it turned out to be even better. Gyllenhaal and Ashford bring masterful emotion and meaning to the score."
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"A daring and complex work…Gyllenhaal delivers a multi-layered performance as the misfit artist…Although vocally, he lacks the brilliance of Patinkin's upper register, he, like his artist character, is able to blend some rich vocal color out of a limited palette…Ashford once again proves herself to be one of Broadway's most skilled musical comediennes…The ensemble of Broadway veterans is also particularly wonderful."
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"This revival is so magnificent and so emotionally rich, anchored by performances by Gyllenhaal and Annaleigh Ashford...Gyllenhaal’s gifts as an actor are well-documented by now, so it’s his vocal talents that may come as a surprise...This production, so deftly directed, emphasizes both the value in the struggle, and the timelessness of great art. It’s powerful indeed to have the experience, even briefly, of seeing the world through the eyes of a visionary."
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"What makes 'Finishing the Hat' extraordinary is that when sung, it feels completely genuine and reasonable and even warm...Once George’s art has the vital emotional hook that arrives in this climactic song, the rest of the play falls into place...Ashford has a sparkling presence as Dot,...Gyllenhaal doesn’t have the velvety, Broadway-honed pipes of Patinkin, but his voice is surprisingly warm and resonant. He brings a twitchy, introverted intensity to the part."
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"It's a brilliant piece of art, but one that requires the right perspective in order to see its full majesty...Sondheim and Lapine's fictional version of Seurat, as played by Gyllenhaal, is your typical misunderstood artist...Gyllenhaal brings a subtle intensity to his performance, particularly in his rendition of 'Finishing the Hat,' arguably Sondheim's most brilliant piece of music, and the most emblematic of this musical and of the creative struggle as a whole."
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“Jake Gyllenhaal certainly walks comfortably in the celebrated shoes of Mandy Patinkin…It is a tour de force for his broad range of vocalizations from full-throated to floating, a true musical theater star…Annaleigh Ashford once again displays her versatility by playing both young Dot and mature Marie...Director Sarna Lapine directs with a sure hand…The orchestra concludes and plays the audience out, swept along on an irresistible musical wave of art, the artist and artistry.”
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"A joyous City Center concert production…Starring Mr. Gyllenhaal and Annaleigh Ashford, with a supporting cast that glows with top-drawer, Broadway-honed talent, this is one of those shows that seems destined to be forever spoken of with misty-eyed bragging rights by anyone who sees it…In terms of conveying this work’s view of art as both a coolly isolating and warmly embracing experience, I’ve never seen a more convincing interpretation. "
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"Perhaps the most personal and haunting musical ever written about the cost of making art. Headlining a cast of first-rate theater pros assembled, Gyllenhaal once again holds his head up high…Just as Gyllenhaal's two characters gain in understanding of themselves...so too did the actor's grasp of the role gain in assurance...As semi-staged concerts go, this ultimately was a lovely reading, with the 13-piece orchestra serving Sondheim's shimmering score impeccably."
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"It not only doesn’t disappoint, it makes the brief stand seem shocking in light not only of the star’s bravura turn but also in the total home run of a production…Gyllenhaal is paired with the equally pitch-perfect Ashford...Here more than ever, the unity of Lapine’s book gets its due as the pieces, sonic, visual and most importantly emotional, fall into place…The stunner is Gyllenhaal, who brings deep warmth and great passion to the role…This was a performance for the ages."
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"One word: Bliss. That sums up City Center’s exhilarating concert staging of Stephen Sondheim and James Lapine’s 1984 musical. The show concerns 19th-century impressionist Georges Seurat, along with the burdens and blessings of the creative process. It insists that 'art isn’t easy.' And that's true of some of Sondheim’s tricky melodies and lyrics. But Gyllenhaal made it look easy breezy while packing his performance with fire and longing...He’s in wonderful company."
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"Once again, Gyllenhaal has pulled it off, leading us to wonder what else he can do…As directed by Sarna Lapine, this version of ‘Sunday’ accentuates the score (performed by an excellent 13-piece orchestra, just slightly larger than the original Broadway production) and book (which is performed in full)…Ashford, with her pristine comic instincts and big voice, gives a knockout, emotionally revealing performance."
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"Many actors in the role excel at one George or the other, but Gyllenhaal's bridge between the two is the clearest and most complete I've seen…Ashford gives a more traditional performance, but one that's accomplished in its own right…They all sound sumptuous, too…All of Sondheim's songs land, even when director Sarna Lapine's staging is a bit too minimalist to do them visual justice…In this format, 'Sunday in the Park With George' warms the soul."
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"Gyllenhaal was spectacular in the role. Devastatingly good right from the beginning. Such an impressive performance especially knowing how little rehearsal time they all had, and who knew his voice had that power and range?...Ashford took a bit more convincing at the beginning...But quickly, I was forced to give in to her...Musically gorgeous thanks to music director Chris Fenwick, this production succeeds marvelously, even in its simple staging."
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"This production is almost overwhelming in its emotional lucidity and startling warmth…The music is at once formally ambitious and deeply satisfying…Certainly, Sondheim’s cleverness can feel coldly brittle in the wrong hands. But thanks to the work of Gyllenhaal, Ashford, and the tremendous supporting cast the effect is immediate and elating."
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