Art Isn’t Easy

Sunday in the Park With George

“Art isn’t easy.” This simple statement of the obvious is the lyric from Stephen Sondheim/James Lapine’s multi award-winning score that best crystalizes the essence of their 1985 Pulitzer Prize-winning musical. For the theatergoer unfamiliar with this magnificent musical, the show fictionalizes the life of French artist, Georges Seurat. It was inspired by the artist’s towering, Neo-Impressionistic masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, which, by the way, hangs in the Chicago Art Institute. Indeed, the unique musical focuses primarily on Seurat’s greatest creation. The painting is a prime example of his theory of art, which he called pointillism. In this style of painting, Seurat speckled the canvas with dots of pure color to form an image, relying on the eye of the viewer to optically blend the colors from a distance. The show also examines the painter’s isolated life and his singleminded dedication to his art, as well as its effect on those around him.

This grand musical, under the smart and stimulating guidance of talented director, Derek Van Barham, sparkles with color, comedy and compassion. Mr. Van Barham’s intimate, immersive production speaks to the audience through its recognizable images and situations. Derek Van Barham is not only a prolific director, but a proven, respected and much-honored master of the art in Chicago. He seems to always have a play or musical opening somewhere (or at least in production). And with Derek’s emotional interpretation of Sondheim’s often controversial piece, theatergoers have an especially piquant and pithy musical dish to devour and enjoy. In this groundbreaking production, Sondheim reduces the nature of creativity to its most basic elements. In particular, he finds parallels between art and amour. Derek Van Barham understands this balance and plays upon it.

Like Sondheim’s fairy tale-based “Into the Woods,” audiences sometimes view the musical’s two acts as separate stories. But, especially in the way Derek has crafted his penetrating and personal production, he’s collaborated closely with talented scenic artist and lighting designer, G “Max” Maxin IV to seamlessly blend the two acts. Not to be overlooked, Julian Weslander has provided an array of minutely detailed properties that add much to the production. 

The visual look for each individual character, both in the 19th and 20th century stories, offer a huge challenge to talented costume designer Rachel Sypniewski, wig and hair designer extraordinaire Keith Ryan and Chicago’s queen of makeup design Syd Genco. But they all succeed with ease. The story of artistic genius George Seurat’s 1884 creation smoothly melds into the shorter tale in Act II of a conflicted and cynical modern-day artist facing the same problems as his Great-Grandfather. The end result is a flawlessly balanced production in which the two halves complement and complete each other.

Derek Van Barham’s gifted company of actor/singers are all top notch talents. The cast is led by one of Chicago’s finest and most versatile actors, Kevin Webb (SWEENEY TODD, INTO THE WOODS, with Kokandy; A LITTLE NIGHT MUSIC, Theo Unique). He ably portrays both of the Georges with understated passion and sensitivity. As an accomplished musical artist, Kevin caresses every note and each lyric with his beautifully trained, rich baritone voice. As Webb’s leading lady, Missy Wise Vanderzee (BRIGHT STAR, Boho; KINKY BOOTS and LEGALLY BLONDE, Paramount) is magnetically captivating, both as Dot, Georges’ spunky mistress, and as Marie, George’s wise, elderly grandmother. Missy’s vocals have so much clarity and range that audiences will forget anyone else who has played this role. It falls upon a most impressive and talented ensemble to play all the other roles, which includes Nick Arceo, Danny Andrew Bennett, Ella Carson, Rachel Carreras, Emily Holland, Lauren Miller, Z Moore, KyraJo Petit-Walla, Samantha Ringor, Nathe Rowbotham, Jack Saunders and Abraham Shaw. 

This extraordinary production is beautifully sung, thanks to music director Nick Sula; and the cast is sumptuously accompanied by conductor, orchestrator and pianist Evelyn Ryan, along with her lush, six-member orchestra. The gifted  musicians, who are tucked away into the recesses of the studio theatre, include Fernando Chapa, Andrew Milliken, Adam Nigh, Matt Wolf and Micky York. In addition to the lovely title song, the impressive score includes “Color and Light,” “Finishing the Hat,” the haunting “We Do Not Belong Together” and, my two absolute favorites, “Putting It Together” and the gorgeous finale of both Acts, “Sunday.” Whenever I hear this breathtaking piece of music, I tear up.  

All of the elements in this wonderful production, from a great script and a lovely score, to a thoughtful and sensitively directed production and a gifted cast at the top of their game, combine to propel this production of SUNDAY IN THE PARK WITH GEORGE to the top. This show must be included on Chicago’s must-see list for the Autumn season. After a fifteen year absence in Chicago, Kokandy Production’s magnificent, intimate, almost immersive production was well worth the wait. Art isn’t easy, so Sondheim says, but director Derek Van Barham has made it look effortless. Do not miss this one! 

Highly Recommended

Reviewed by Colin Douglas

Presented August 13-November 1 by Kokandy Productions at the Chopin Downstairs Studio, 1543 W. Division St., Chicago.

Tickets are available in person at the door or by going to  kokandyproductions.com or bit.ly/SundayChicago. 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.

Photos by Evan HanoverShow original message