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on 20 December 2015
I remembered the TV showing of this musical many years ago and was very gratified to rediscover all these years later. This is Sondheim at his absolute best. The casting is superb {look out for startreck's Data]. The joy of replaying it is immense.
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on 25 June 2015
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on 2 September 2010
It is rare that a piece of music, in whatever genre, actually leaves you thinking about the subject long after the music had ended. The frustration of being a genius,a workaholic, an artist and the frustration of those involved in his orbit are all brilliantly conveyed. Witty and thought provoking. The very best from Stephen Sondheim.
One person found this helpful
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on 27 November 2017
Better on dvd but ok
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on 25 October 2013
No one writes quite like sondheim & no man sings it quite like mandy patinkin. A truly great recording. Fabulous.
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on 8 January 2014
The lead singer Mandy Patenkin is in 'Homeland', he is great in that and I never new what a wonderful singing voice he has.
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on 21 March 2000
I have never heard a score that is so beautiful.Sondheim's work has never been so accessable but so difficult all at once.Performances by Bernadette Peters and Mandy Patankin are flawless and the songs are songs you will never forget.If you are interested in performing in musical theatre then this show will be an inspiration and a fantastic 'acting through song'lesson which you can practise again and again.If you just like good music,then buy it anyway.
15 people found this helpful
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TOP 100 REVIEWERon 5 March 2016
I saw this in a stunning production at the National, with Maria Friedman as Dot/Marie and Philip Quast as Georges/George, and have heard both albums made from productions – this Off/Broadway /later Broadway, starring Mandy Patinkin and Bernadette Peters, and a later UK revival which transferred to Broadway with Daniel Evans/Jenna Russell and have to say that for my money the Americans win hands down, heart open, ear sweet.

To my ears and viscera the later British CD gains more of the dialogue, and yes, Russell is easier to hear the wonderful lyrics with, as Peters at times flounders in managing the fiercely rapid fire sung lyrics, particularly in that fizzing, dizzying opening track, however, I am more aware of Evans and Russell as musical theatre performers. By contrast, Patinkin and Peters make me feel as if I am relating to Georges/George and Dot/Marie. These two, though clearly immaculate in their technique and craft, seem to sing from within the characters they are playing.

Sunday In The Park With George is my very favourite Sondheim musical – witty, intense, audacious it takes as its inspiration the 1884-1886 painting by the pointillist Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte and follows the story of the painter himself , through using his writings and ideas about art, and his artworks, and some of the major events of his short life, and the invention of the lives and identities of the people painted in that picture – most particularly, the woman in the foreground on the right hand side of the painting, with the monkey on a leash, here cast as Dot, Seurat’s model and lover. Act 1 takes place over the two years which it took Seurat to paint his picture, which now hangs in Chicago

Act 2 takes place 100 years later. George is a fairly successful installation artist, someone much more commercially driven, working the corporate world, part creative, partly with the wily cynicism of one who schmoozes but has lost his creative way through trying to second guess which way artistic fashion is heading. George is presenting his latest work, and installation structure, Chromolume Number 7, built on an initial inspiration from the pointillist and chromoluminist ideas of Seurat. Marie, George’s elderly grandmother, close to dying, reflects on her memories of her French born mother, Dot, and is a conscience, a beacon and ultimately a re-awakener of George’s lost truthful creative voice. Act 2 takes place partly in Chicago and partly in Paris, where what was that Park, 100 years ago, has inevitably been changed

Sondheim’s shimmery, weaving music, dabbing and sparkling provides a kind of musical pointillism

The album does stand on its own, but inevitably has much more bite if you know the staged musical.

My only cavil for this album is the inclusion of one of the numbers, Putting It Together, presented not by Patinkin – it is an edgy, angst ridden, cynical and vituperative piece, interrupted by dialogue, in context. Instead, it is presented as a typically ‘musical theatre’ show stopper type piece, add on at the end by a quartet of singers, none of whom belong in this production. It is, to my ears, glitz without heart or context. The final piece, although beautiful, again misses much – Peters in a tribute concert at the Carnegie Hall reprising one of the big Sunday chorus numbers. Which is somewhat different from the intensity coming out of the inhabitation of the characters of Georges/George and Dot in relationship with each other, singing those numbers.

I particularly love the two harmonious end of Act 1 and end of Act 2 'Sunday' numbers, set against the all at sea quarrelsome dissonance of the opening Act 2 number, 'It's Hot Up Here' . Taken together, these reminded me of Rossini's operas where there is often a kind of waspy, frenetic, deranged chorus piece with every character snarling confusedly, slightly deranged, and an ultimate, wonderfully uplifting harmonious and beautifully balanced resolution

Peters rather breaks the listener’s heart repeatedly with her vulnerability and generous heart quality. And Patinkin is a revelation, a very fine singer indeed, as well as actor
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on 25 October 2002
Sondheim's best show in my opinion but unfortunately it is not as well known as it should be. If you enjoy the C.D. I would also advise you get the D.V.D as well because then you will see the stunning performances from Mandy Patinkin and Brnadette Peters. They will always belong together. This is a beautiful and thouroughly moving show.ENJOY!!!
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on 20 April 2010
Sometimes a DVD is less gratifying that the album. This might be a case in point.
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