Saturday, August 19, 2017



National Youth Music Theatre 
at The Other Palace


George is a freely fictionalised Seurat, the pointillist painter who died young and unappreciated in 1891.
Sondheim and Lapine's 1984 musical shows him at work, principally on Un dimanche après-midi à l'Île de la Grande Jatte. His sketches, much enlarged, sit on easels and form the only set.
The characters – all sorts and conditions – are brought to life and given a backstory, as George tries to capture the casual chaos of a suburban park – on an island in the middle of the river.
White, a blank page or canvas. The challenge: bring order to the whole, through design, composition, tension, balance, light and harmony."
In a slightly forced coda, we fast-forward to the present – well, 1984, with some lovely fashions – in which George's great grandson, also an artist, unveils an installation paying tribute to the original painting, and later takes it to the now deserted island, where he meets the ghost of Dot, the painter's model and muse, as the blank canvas is gradually peopled by the figures from the past.
Hannah Chissick's evocative production uses the moving easels very effectively – they are internally lit for the C20 “Chromolume” installation – and the lighting, as it must, helps to paint the pictures.
A fantastic cast, none older than 21, copes brilliantly with the subtle characterization and the very tricky Sondheim score. Especially effective musical moments are the pointillist underscore for “Colour and Light”, and the choral ensembles for the tableaux. Musical Director Alex Aitken conducts a chamber ensemble from the keyboard, above and behind the action.
Thomas Josling makes a compelling George, splendidly bearded, moving in his soliloquies, dealing with his detractors and, in the opening sequence, trying to persuade his Dot to pose properly.
She's sung beautifully by Laura Barnard, who also brings a frail sincerity to the elderly Marie [Dot's daughter and ex Floradora girl] in New York, reading the great man's biography from cue cards.
Among the other colourful characters – the two Celestes and their soldier beaux, the rude bathing boys, the American tourists – Lucy Carter stands out as the Nurse to Eloise Kenny-Ryder's Old Lady, as does Matt Pettifor's truculent Boatman, with his eye-patch and his dog, also done as a canvas sketch. Adam Johnson gives an assured, and very amusing, performance as rival artist and caustic critic Jules, while Thomas Mullan brings an engaging warmth to Louis the Baker, Dot's eventual husband.

This very welcome Sondheim revival is just one of four NYMT shows this summer. It deserves a much longer run than this, but we can be sure that at least some of these talented young performers will be back, gracing the musical theatre scene in years to come.

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