Theater review: Sunday in the Park with George at OnStage in Bedford

by John Garcia of John Garcia's The Column

Even with the problems that did pop up on Saturday night, it was still an overall excellent production.

What I am about to say could cost me my union card with the Musical Theater Fanatic Association, but here it goes: I'm not much of a fan of Sondheim's music. Whew. There. I said it. Publicly. I do feel better now.

I know I am in the minority with that statement, but I just find the majority of his scores too eclectic, distorting, and strangely composed for my tastes. At times you feel that he is striving so hard to sound "artsy." This is why Sondheim purists worship at his altar. It's not the "norm," but a very unique voice and artistic vision that steers clearly away from what we've heard before. I do agree that Sondheim did help elevate the art of musical theater. He did do that. His artistic voice has influenced many composers, such as James Robert Brown (Parade) and Jonathan Larsen (Rent).

But the majority of his scores just don't do it for me. I come from the musical theater theory in that songs should be composed with crescendos that segue into big, belting endings. I prefer melodies that do stick like sweet gum onto your brain over music that is written all over the music sheet or ending in bizarre keys or weird cut-offs that leave the audience whispering to each other, "Is there where we clap?"

Not every Sondheim score is like that. I find his score for Sweeney Todd fascinating and consider Follies a masterpiece. But for every one of those first rate scores you also have the bland, bizarre Pacific Overtures and the ear-bleeding nightmare Passion. But then there are those scores that are half and half in the Sondheim catalogue. Such is the case with Sunday in the Park with George.

After his production Merrily We Roll Along crashed and burned on Broadway in 1981 (lasting only 16 performances), Sondheim told the Gotham press he was pushing himself away from the composing desk and would instead write mystery novels. But then he and his close friend James Lapine saw the painting "A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat. Lapine noticed that in the painting the one thing that was missing was the artist himself. This clicked the creative light bulb in Sondheim's brain, resulting in Sunday four years later. Lapine wrote the book, while Sondheim tackled the score and lyrics.

The musical was about Seurat and his maddening passion to create such a unique piece of art (painting in dots) at whatever cost -- both personally and emotionally. He ignored the critics, his mother, and his lover Dot (a model); everything and everyone to finish this new vision.

The musical opened at the Booth Theater in 1984, going on to play 604 performances. Sadly it was met with uneven reviews, and while it did run for over a year, the musical ended up losing money.

I actually saw the original Broadway production of Sunday. But that was the same trip where I saw another new musical, Jerry Herman's La Cage Aux Folles. You know where this is going already, don't you? Herman's fantastic, grand score, the hilarious book by Harvey Fierstein, and all that glitz and glamour -- well, it drew me in hook, line, and sinker.

Herman's production was a dazzling piece of musical theater. That next night I saw Sunday. This would also be my first exposure to the legend Bernadette Peters. Visually it was gorgeous, and Peters' performance made my heart crack into a million pieces. The score and book, however, left me perplexed. It had a couple of alluring songs, but the bulk of the score sounded too strange or weird for my ears. Some songs, paid off, but the majority of them did not. One song (the one with the dogs barking and singing) had me actually think, "What in the HELL was that all about?"

Plus that second act was just a mess; it looked as though it was only halfway completed. It didn't move emotionally like the first act. This problematic second act had this vibe that he and Lapine threw an amalgamation of ideas onto the canvas of their production just so that they can get the musical onto the stage.

At the 1984 Tony Awards, it would be Herman's La Cage that took home the award for Best Musical and Best Score over Sunday and Sondheim. That night also brought the birth of a very bitter relationship between Sondheim and Herman. When Herman accepted his Tony for Best Score he thanked the Tony voters for seeing that a "simple, hummable tune was still alive on Broadway." Ouch. Sondheim felt it was a personal potshot at his work and fumed in his seat. Herman to this day denies he was referring to Sondheim.

The musical was revived in 2008 by the Roundabout Theater Company, but it was actually the transfer from London's West End Menier Chocolate Factory production (bringing its two leads across the pond as well). This time around the musical was met with high praise for the Sondheim score. It played its limited engagement of 149 performances, and received a Tony nomination for Best Revival (Lincoln Center's revival of South Pacific took that trophy).

The original Broadway production has been the only production of Sunday in the Park with George that I have seen. Saturday night I saw it for a second time, this time at Onstage in Bedford, a small community theater nestled on the Bedford Boys Ranch (playing through April 11).

I must admit I was a bit apprehensive about viewing this production on such a small stage and what I know had to have budget limitations. The overall production does contain some design issues and some performances were not as balanced as they could be. But the overall production is an artistic achievement in showing the public what is the outcome from those who have the drive, passion, and love for the art of musical theater.

Chris Robinson's direction and vision is jaw-dropping exceptional. He simply ignored the limitations he had in regards to budget to prevent him from giving his all. His staging and blocking worked flawlessly here -- it was almost as he somehow added more stage floor space than what was there before. The staging and blocking had authority, purpose, and at times resulted in touching "picture windows." The pace only had a hiccup or two, but overall kept moving along in unison with the emotion on stage.

I could see that Robinson worked hard on making sure his cast did not "imitate" the original Broadway production. Sunday is one of the very few musicals that was preserved on video for the public to purchase (not even La Cage has that).

So many members of the Musical Theater Fanatic Association and beyond have watched this tape many times. Thus Robinson made an excellent directing decision in steering his cast away from becoming carbon copies of the original with their performances. This was my first production to see that was directed by Robinson, and I must say I was very, very impressed here.

Another artist who deserves accolades is Musical Director Jeff Crouse. He had only himself and two other musicians in the pit to bring to life Sondheim's anomalous score. Crouse at piano, Ellen Kaner on reeds, and Randy Lindberg on percussion. A few times the electronic strings did sound a tad cheesy and just a hint of sharpness, but the majority of the evening this three-piece combo worked their magic into doing a very commendable job. Crouse really shined with his piano playing skills and his finesse on keeping in sync with the cast.

From the three main design elements, two were outstanding, while one failed horrifically here.

Ken Davis's lighting design is marvelous in both color and scope. With the use of precision units and various color gels he was able to soak the set in array of soft, lush colors, such as blues and greens. The creation of twinkling stars for the back wall was another successful design element in Davis's concept. I was quite impressed on how he had sections of the stage lit individually, which gave a nice ambiance to the piece. Davis helped in bringing to life the painting with vivid success thanks to his lush design in light.

Robert Dennard's scenic design begins with a raked stage, which gave Robinson some dazzling moments in his staging. Dennard uses white sheets for some projections and open slits on the floor to bring on and off various painted pieces (such as the monkey, tree, and dog).

All of these moving pieces were on a pulley system that at times worked like a charm here. But then there were times when they either got caught on the tracking system, thus falling over or popping out loudly off its track. It didn't help that two major pieces (the painting on a white wall unit and George's paint unit) had ear-splitting squeaking wheels that were begging to be oiled. Having said all that, it is still a marvelous design and concept. Dennard (like Robinson and Davis) took head-on the challenge of their limitations of budget and space, thereby creating a design that is just grand to marvel at. Assisting in Dennard's design is the lovely scenic art design painted by Sergio Turrubiartes.

It is not listed in the program, but a huge standing ovation must go to whoever created the second act Chromalome that the 1984 George created. That element was a sweet, thrilling surprise that exploded all over the theater in light, sound, and video.

Sadly the costumes designed by Carol Anderson are not on the same level of polish and execution as the lighting and scenic designs. The bustles did not look at all like the bustles you've seen in old photographs of that period. Anderson fashioned some strange mini round pillows that looked glued to the women's behinds, resulting in giving the ladies way too much booty. Even Jennifer Lopez would be a bit taken aback by that sight. These oddly constructed bustles did not flatter their bodies at all. Then there were some costumes that did not look finished at all (such as the piles of various pieces thrown onto to the Old Lady to wear). One costume seemed to have the lace on it burned, leaving a glaring scorch mark. Most of the men's coats did not look period at all and some did not fit well on the actors.

Finally, it is a huge risk to "pull" from a costume room to use on this show.

I know this because the hat worn by the old lady was the very hat that was used in Onstage's Man of La Mancha. You must painstakingly have precise designing in the details within these costumes. They must not only look period, but also demand that they match the color palette of George's painting. I know this is a major challenge for any designer. But while Dennard and Davis took on the challenge with artistic gusto, Anderson clearly missed the boat here.

The majority of the cast delivered glowing performances, but as a full company they really did do a wonderful job here. Two of the best numbers of the evening were "Sunday" and "It's Hot Up Here," which the entire company sings. They filled the space with robust, lively singing. However, there was a problem of holding the notes. Some who sang louder is where it really stood out. You must take full breaths to sustain those long notes. Some did not, thus because of such an intimate space, you could hear crystal clear who ran out of steam vocally due to not taking in enough air, thus causing the vocals to sound choppy and uneven on some sustaining notes. But I chalk that up to opening weekend jitters.

Nonetheless, this cast sang with such passion and commitment that you can overlook those minor chinks in an otherwise glistening armor that this cast wore over their talents.

There were some performances that contained that special extra radiance that made them stand out:

Providing the heartiest laughs of the evening were Kristin Spires and Ben Phillips as "Mr. and Mrs.," the Southern couple visiting Paris, in particular Ms. Spires. She had a way of adding just the right amount of Southern belle charm and bitchy tourist within her performance.

David Cook as "Franz" and Milette Siler as "Frieda" both portrayed their stiff, cold German servants effortlessly. Cook in particular had this arrogant aura within his characterization that really fleshed out an otherwise minor role.

James Christjohn portrayed another painter "Jules", while Carleen Kirksey played his wife "Yvonne." Both gave their performances equal amounts of comedy and tension. However, I wished Kirksey had more subtext and pain in her scene with "Dot" when she says, "Why are you so cruel to me?" Think about that subtext. Here is a wife of a painter who all through the first act has made vicious comments about George, his painting, and about Dot herself. And yet she feels hurt by Dot's verbal lashing. That some delicious subtext to play with that I so wished Kirksey displayed. She still is charming and quite enjoyable in the production.

Deborah Dennard had one of the most touching moments of the evening with the duet "Beautiful." It is here where mother and son try to reconnect through painting. Dennard wears the mother's pain right on her sleeve for all to see. While vocally she did struggle with some of the notes, her acting and compassion made you overlook that. Her eyes glistening in tears, you could not help but think of your own mother as you watched her heart tugging performance.

Michelle Foard and Daron Cockerell portrayed the best friends "Celeste 1 & 2". Both ladies played off each other quite well, but I missed the complex subtext and energy when their friendship is split due to the soldiers. It needed more definition on why these two women do everything they can to date the soldiers, only to have their friendship diminish. Both ladies do have very expressive eyes that worked beautifully into their performances when they flirted with the soldiers.

Jared Brewer played the "soldier" with the right amount of stiff military posture and attitude. His characterization never once went off track, even when the full company was on, he was totally in character with each movement and facial expression. The idea of playing the second role "Alex" (Brewer's other character) as a Goth with a huge chip on his shoulders was perfection.

As the "Boatman" Nathan Erwin played the role with gritty realism that I found most appealing. He (like Brewer) stayed in complete character throughout the first act. The use of his leg brace, the brash demeanor, and his hatred towards the higher class were components that made Erwin's performance really stand out. Erwin also possessed a booming baritone voice that complimented his characterization.

As "Dot," Kristi Rowan has such a difficult wall to crash though. That wall is the performance of Bernadette Peters in the original. It is performance that is etched into your brain if you saw her live in the role (like I did) or from the original production that is now available on DVD. While Rowan did not crash through this wall in my mind, she did still deliver a very entertaining performance. I just missed so much the emotional pathos of pain and loss that the role demands. Such as in the gut wrenching ballad, "We Do Not Belong Together." The lyrics here are doused in pain, but Rowan could not grasp onto them with graphic realism and honesty that is so needed here. The same happens in the second Act with "Move On" which for me is one of the best songs of the entire score (next to "Sunday" and "Putting it Together"). Again the lyrics are laid out in beautiful honesty, authority, and compassion, but Rowan somehow could not connect to the subtext and unspoken emotion that this song demands. Don't get me wrong, she still does to a lovely job with both songs (as other numbers). But I just so wanted to have that harsh, realistic pain and abandonment that Dot feels in "We Do Not Belong Together" to punch me in the gut like it has before.

Vocally Ms. Rowan does possess a divine soprano voice, but I felt it could use a second layer of louder volume. There were times where either the band or other soloists overshadowed her in volume.

She does do a very commendable job in this performance and I thoroughly enjoyed her. I just would have preferred to have her peel deeper into the layers of subtext that the role implores. Regardless, Ms. Rowan is so entertaining in this production.

The performance of the evening belongs to Kevin Friemel as "George." In the original Broadway production I remember being not impressed at all by Mandy Patinkin's performance as "George." He was all over the map emotionally and was almost on a different playing field than the rest of the cast. I just thought he was way too "out there." Oddly enough I would see him again on stage years later in The Wild Party on Broadway. Once again his "bizarre" acting method was in full bloom by then. He was just way "too out there" again for my tastes.

Friemel's "George" for both acts was spot on in performance and subtext. There were a few times where his songs caused him to strain to reach the high tenor notes, but it was rare when this occurred. Friemel is physically a tall, angular looking actor with curly hair that actually made him look a little like a painting brush. His facial expressions aided him greatly in allowing us to see what was missing both in George's mind and heart. Friemel had the right subtext flowing throughout his performance. His displeasure of people bothering him while he painted radiated from his body and voice. He gave his "George" this urgency that made him more human. You could truly feel Friemel's "George" desperately trying to make his vision and voice be heard. My only complaint here is that the beard he wore looked way too fake and did not match the color of his hair at all.

For the second act Friemel created this child like demeanor for the 1984 "George" that was refreshing. His affection for his grandmother (Marie) was heartwarming to observe. I was particularly impressed on how he allowed both his body and face to completely change for both "Georges." For Act One he is stiff, focused, determined. For the second act he is lost, insecure, confused, and apprehensive. I never got confused with Friemel's portrayal of "George," but actually welcomed the unique artistic choices he made as an actor to create a much more complex, full characterization that was missing before. I actually cared for this "George." A marvelous performance was given here by Friemel.

Friemel and Rowan had the best duet of the night with "Move On." Both sang with full voice, vibratos firmly in check, and filled the space with their singing. Plus they both sustained their notes to the very end as composed, which was sheer musical heaven in my book.

In the last three years Onstage in Bedford has magically transformed itself into a theater company that is to be reckoned with. For several years the company stuck to the theory of "old shows for old folks" that alas too many community theaters in this area are glued to.

But then a new Artistic Director and a group of fresh directors were brought in to revamp and revitalize the company. That they did. They have tackled musicals that most theater companies avoid (La Cage and The Full Monty), or added fresh new coats of artistry to the older titles.

Three years ago they managed only a couple of Column Award nominations, this past year they led in the non-equity field with a staggering 33 nominations, going on to take home the big prize, Best Play of the Year (non-equity). They were also voted Best Theater Group in North Texas on channel 8's WFAA list. They have brought in radiant new talent as well into the mix. Again, that's all in the span of a short three year period.

But it is how they challenge themselves as artists and as a theater company that I greatly admire. They tackle some really tough material.

You have a gay love story in La Cage, male strippers in The Full Monty, murder and macabre in Sweeney Todd, and so on. They ignore that they are housed in a small space, and instead challenge themselves from all fronts: direction, design, and performance in bringing each production to riveting new life. Instead of just accepting the old theme of "this is what we have to work with;" they continue to raise the artistic bar each time they produce a musical.

While other local theater companies stick to the war horses, Onstage in Bedford instead chooses the artistic road of challenging themselves as artists and pumping fresh new blood into their theater company.

Their production of Sunday in the Park with George is a prime example of this artistic challenge that I am talking about. And guess what? Even with the problems that did pop up on Saturday night, it was still an overall excellent production. Sure, some elements were not up to par, but as a whole they have once again raised the artistic bar. And that for me is why they have earned a resounding round of applause.

I strongly encourage you to go see Sunday in the Park with George. This is a very complex production to bring to life, and somehow Onstage in Bedford has just done that.