Reader Reviews
Sunday In the Park With George (Menier Theatre, Outer London)
Back to Show Details| Score | Comment | Date |
 | I've now seen it twice and it's a terrific production of one of Sondheim's most difficult plays. Many of his musicals are better when produced on a small scale, as the Donmar have proved on 4 occasions, and it's the same here. I'm delighted it's got a transfer, but suspect the better experience is here at the Menier. - 86.130.207.61) | 07 Mar 06 |
| This is the best thing you'll see all year. Two sensitive, intelligent performances from leads Daniel Evans and Anna Jane Casey, with an utterly outstanding supporting cast backing them up. The much-hyped projections are apparently breaking new ground, but don't draw attention to themselves, or seem out of place. Some of the images are just beautiful. The score gets back to basics with a reduced orchestration (a la the new Sweeney Todd) which sounds much more proper than the Broadway orchestrations ever did. The choral sound produced by the cast is the finest I've heard in years. I could go on! I can't fault this marvellous production. - 213.78.72.142) | 17 Feb 06 |
| I really wanted to like this show, after the raft of rave reviews. In retrospect I think many people are gald just to see the score revived after such a long time, following the premiere at the NT. I felt that the Menier was totally inappropriate for a musical of this scale and I find the venue to be embarrasingly amatuerish, from the set-up of the box office and public spaces, to the performance space itself. It is particularly lacking when compared with some of my favourite alternative venues, such as the Donmar and Almeida. The production itself suffers from the claustrophobic nauture of the "auditorium" and the seating is terribly laid out. The bench seats are true to their name and totally unsuitable for the health of the spine. The technical set-up meant that the projectors used for the show are above the audience and are audible (which is rather off-putting) through the performance. The score itself is not the most accessible, but the interpretation here was nothing special. The tiny stage means there is no movement and this resulted in a totally stagnant feel. The performers were good and there were not any weak links in the cast, but the costumes and "acting" were pastiched and uninteresting. The projections themselves, as they are the only really "new" aspect to this revival, are rather dated in their appearance. The audience were rather impressed by moving silhouttes of dogs, but I am aware that this is not exactly the epitome of projection technology. I will acknowledge that many people may love this show, and it will be interesting to see what happens when it transfers to the West End shortly. For me, however, it offered nothing: There was not sense of passion or feeling about this production. - 195.93.21.10) | 14 Feb 06 |
| This is a truly stunning piece of Theatre made even more powerful after seeing the fabulous Tick, Tick...Boom at the same theatre last year. Having heard tales from others who had seen previous productions of this musical, I was concerned about how such a small space could be transformed into something which would match the scale of Seurat's painting. I suppose the big secret is that you just don't. You take those elements you need and let the music and the imagination do the rest. Leading the cast, Daniel Evans and Anna-Jane Casey were stunning, but the whole cast carried this show to the highest heights with some superb ensemble singing. I have to say that the deeply moving renditions of Sunday at the end of each act nearly had me in tears, both times. The settings were very well done. Video projection is a difficult art to master, but this production clearly learnt from the flaws in The Woman in White. The confined space was probably a major asset in this respect. There were some lovely touches, such as the Dogs, which were handled so well by cast and crew. The fabulous Putting it Together was a masterstroke, the cast reacting to the multiple projections most convincingly. The five piece band gave a sound perfectly balanced and complementary to the cast not overpowering in such a small venue. But all this couldn't happen without the vision of a talented Director. Sam Buntrock is clearly a name to watch for. His job was made all the easier by the Menier Theatre itself. This venue is prepared to do whatever is needed to produce fantastic theatre, it is developing quickly into the Donmar of the 21st Century! - 194.200.154.253) | 17 Jan 06 |
| I can't fault the cast or the staging,which were both excellent but I'm afraid I found this a terribly difficult piece of theatre to understand-and this is my second attempt, having seen the National Theatre production some years ago as well. Normally I love Sondheim and I know this is considered his masterpiece-but I just had absolutley no idea what it was about and what it was trying to say. I didn't leave humming the tunes either- in comparison to Follies or Company there are virtually no memorable songs in it with the possible exception of "Putting it Together". A bit too high brow for me I'm afraid. No doubt it will win heaps of awards though. - 212.135.157.226) | 03 Jan 06 |
| A dazzling production of a favourite Sondheim show - can't wait to see it again - and again - and again. - 217.158.132.254) | 16 Dec 05 |
| Wow. The best production of any musical I have ever seen. Ever. Just beautiful from start to finish. Whereas in Woman in White, the projections simply replace scenery and props, here they enhance and underscore, and create the most magical world of colours for the (fabulous) cast to inhabit. It doesn't pull focus. Some of it is stationary, much of it hardly moves at all. The second soldier simply turns his head, to look at his companion (and gets a terrific laugh in the process). The actors are astounding. I love Quast as a performer, but Daniel Evans blows him out of the water. He's more layered, subtler, and gives one of the most sensitive performances I've ever seen in the theatre. Anna Jane Casey easily matches Bernadette Peters, and is incredibly touching as Dot. Move On couldn't have left a dry eye in the house. The show boasts the strongest ensemble I've seen. Gay Soper is lovely as George's mother, with Simon Green up to his usual high-calibre tricks as Jules. Christopher Colley is delightful as the Soldier, and a young actor I'd like to see much more of in future. Alasdair Harvey makes a welcome return to the London stage as the Boatman, and is great too. But for me, the real revelation was the show itself. This is the fourth production of the show I've seen, and the first to make it work. The wonderful new orchestrations help, creating a soundscape that links the two acts, as well as reflecting the minimalist nature of the tunes and Seurat's painting. But just the look of it, the feel of it, the performances... They've really put it all together. The piece isn't flawed, as everyone (me included) has always said it is: it's simply taken the right company to find the throughline, and do it the justice it deserves. - 213.78.69.95) | 14 Dec 05 |
| I agree with the person below. After so many glowing reviews, I was very excited about seeing it. Unfortunately, I was disappointed with this production of such a great show. I don't really think Daniel Evans was right for the part (sorry!). - 88.107.160.84) | 13 Dec 05 |
| I'm not sure where to start with my review. I had read amazing things about this production but in so many places it left me cold. The cast were strong, although Daniel Evans tended to grate on me at times and the sets were well presented in such a difficult space. I think though the story as a whole was trying too hard and in the process lost its true focus. - 217.36.96.101) | 12 Dec 05 |
| A masterpiece. A beautiful, moving, funny, thought-provoking, ecstatic meditation on the nature of art and humanity. Sondheim's breathtaking score sounds wonderful in this exquisite chamber production. The problematic but fascinating 2nd act in this production is, if anything, even better than in the NT staging of 15 years ago: literally not a dry eye in the house. The use of projection and video footage is the most exciting I've seen, enhancing the action rather than trying to replace it as in "Woman In White". My only slight reservation was with Daniel Evans as George; despite being suitably intense and angst-ridden, he appears to be struggling vocally. Anna Jane Casey is a magnificent Dot and an adorable Marie: she may lack some of the vulnerability that Maria Friedman and Bernadette Peters brought to the role, but she delivers a performance of passion, heart and charm...the best thing she's done to date. In a fantastic supporting cast, Simon Green, Chris Colley, Gay Soper and above all Liza Sadovy shine particularly brightly. This show is a treat: I really hope it transfers in the New Year as it should be seen by as wide an audience as possible. Magical. - 195.82.123.181) | 12 Dec 05 |
| Beautiful production. Incredibly moving. A wonderful venue that promises to foster a new generation of performers, directors and writers. - 131.111.253.163) | 11 Dec 05 |
| Thought it was wonderful and for once made sense of the 2nd Act when it comes to the "present day" - a brilliant evening! - 194.216.254.81) | 05 Dec 05 |
| I've seen it again since the preview and would like to revise my 'runofthe mill' comment. Excellent ensemble performances from every member of the cast,all now well settled in. - 86.142.180.127) | 02 Dec 05 |
| Excellent! Easily the best production of SUNDAY there's been in the UK. Daniel Evans makes a great George, with Anna Jane Casey remarkable as Dot. Exceptional support too, with Joanne Redman and Christopher Colley standing out. Beautiful design: I've never seen anything like it in theatre. It's hugely ambitious, but doesn't overpower the storytelling, which remains so sensitive and subtle. A truly great night out! - 213.78.89.9) | 26 Nov 05 |
| Ingeniously creative production,almost minimally presented but maximum effect. Daniel Evans as the two Georges sustains the emotional drama consistently and with a robust voice.Anna Jane Casey almost matches his instinctive stage presence, and acts delightfully throughout although not projecting some of the lyrics ( is she used to being miked ? ). Gay Soper Simon Green and Alasdair Harvey superior to enthusiastic but run-of-the-mill rest of the ensemble. Clever projections. Music balance far too loud often blotting out the (apparently unamplified) solo voices. ' It's Hot Up Here ' excellently performed. Correct avoidance of showing the Cromolume. Full house, sensitively receptive.Sondheim fans will be very happy. Pre-theatre food ok - only two main dishes on offer - but tiny nightlight candles do not illuminate the plate ! - 86.143.152.231) | 23 Nov 05 |
