Photo by Jeff Lorch.
Terry Morgan – ArtsBeat LA
As part of its “Sondheim Celebration” this year, the Pasadena Playhouse has a new production of Sunday, but although it is professionally done and largely enjoyable, a couple of issues in direction and performance keep this show from being everything it could be…
Alabado is terrific as Dot, an appealing combination of petulance and passion, and charming as the contented Marie. She sets the standard for singing high with the titular first number, and impresses throughout, especially in her duet with Phillips, “We Do Not Belong Together.” Phillips, unfortunately, while a good vocalist, seems mainly to be trying to copy Mandy Patinkin’s original performance in the role, and as a result doesn’t bring as much to the character as he might. Standouts in the great ensemble include Emily Tyra as Yvonne, the artist’s wife secretly jealous of Dot, and Liz Larsen as the Old Lady, whose tart delivery of her peevish character’s lines are delightful. Read more…
Peter Debruge – Variety
In the first act, Sondheim and Lapine’s musical focuses on the young painter, whose name they’ve anglicized to “George” (which rather unfortunately sounds like a goose honking, especially when repeated at the end of every line: “I know you’re near, George / I caught your eyes, George / I want your ear, George / I’ve a surprise, George”). Seurat died at age 31, never having sold a painting, and the show does several interesting things with a life that went largely unrecorded. Read more…
Rob Stevens – Haines His Way
Although the musical aspects of the production are top notch, there are problems with the staging by Lapine. The show basically still just feels like an upscale concert version of the musical. Ken Billington’s lighting design paints wonderful colors and Clint Ramos’s costumes are appropriate. The main problem is Beowulf Boritt’s scenic design. There is not much to it—mostly a scrim that acts as a screen for Tal Yarden’s projections. The orchestra is on stage and probably takes up at least half of the playing space. Boritt’s platform has a few steps up from stage level and it is disconcerting to watch people who are supposed to be in “a small suburban park on an island in the river” keep stepping up and down to enter or exit. The platform can barely hold the entire company and so it just looks overcrowded at times, especially for the Act One finale. Without a hint of scenery, instead of a breath-taking realization of the painting coming together, we just get a crowd of people on a platform. Read more…
Katie Buenneke – Theatre Digest
I had never seen this Sondheim classic before, but I’m glad I got to see it now. Some Sondheim shows are, I think, like Brussels sprouts; you might not like or appreciate them when you’re younger, and they have to be impeccably prepared to be palatable when you’re older. I don’t know that I’ll ever love this show, but I think this production, which I liked plenty, is as close as I’ll get (I’m more of a Company and Merrily We Roll Along gal). Read more…
