| Sunday in the Park with George | |
|---|---|
 Original Broadway Playbill cover | |
| Music | Stephen Sondheim |
| Lyrics | Stephen Sondheim |
| Book | James Lapine |
| Basis | A Sunday Afternoon on the Island of La Grande Jatte byGeorges Seurat |
| Premiere | July 6, 1983:Playwrights Horizons,New York City |
| Productions |
|
| Awards | |
Sunday in the Park with George is a 1984musical with music and lyrics byStephen Sondheim and book byJames Lapine. It was inspired by theFrenchpointillist painterGeorges Seurat's paintingA Sunday Afternoon on the Island of La Grande Jatte (painted 1884–1886). The plot revolves around George, a fictionalized version of Seurat, who immerses himself deeply in painting his masterpiece, and his great-grandson (also named George), a conflicted and cynical contemporary artist. TheBroadway production opened in 1984.
The musical won the 1985Pulitzer Prize for Drama, twoTony Awards for design (and a nomination for Best Musical), numerousDrama Desk Awards, the 1991Olivier Award for Best Musical, and the 2007Olivier Award for Outstanding Musical Production. It has enjoyed several major revivals, including the 2005–2006 UK production first presented at theMenier Chocolate Factory, its subsequent 2008 Broadway transfer, and a 2017 Broadway revival.
In 1884,Georges Seurat, known as George in the musical, is sketching studies for his paintingA Sunday Afternoon on the Island of La Grande Jatte. He announces to the audience, "White, a blank page or canvas. The challenge: bring order to the whole, through design, composition, tension, balance, light and harmony." He conjures up the painting's setting, a small suburban park on an island, and retains some control of his surroundings as he draws them. His longtime mistress, Dot, models for him, despite her frustration at having to get up early on a Sunday ("Sunday in the Park with George").
More park regulars begin to arrive: a quarrelsome Old Lady and her Nurse discuss how Paris is changing to accommodatea tower for the International Exposition, but the Nurse is more interested in a German coachman, Franz. The quiet of the park is interrupted by a group of rude bathers. George freezes them with a gesture, making them the subjects of his first painting,Bathers at Asnières.
The setting abruptly changes to a gallery where the painting is on display. Jules (a more successful artist friend of George's) and his wife Yvonne think George's work has "No Life". Back on the island, Jules and Yvonne have a short discussion with George and depart. They take their coachman Franz with them, interrupting his rendezvous with the Nurse. Dot, who has grown tired of standing still in the early morning sunlight, leaves the park mollified after George promises to take her to theFollies. George approaches the Old Lady, revealed to be his mother, and asks to draw her, but she bluntly refuses.
In his studio, George works on his painting obsessively while Dot prepares for their date and fantasizes about being a Follies girl ("Color and Light"). When George briefly stops painting to clean his brushes, he and Dot reflect on how fascinated they are by each other. Dot is ready to leave, but George chooses to continue painting instead, greatly upsetting her.
In the park on a Sunday some time later, George sketches a disgruntled Boatman to the disapproval of an observing Jules. Dot enters on the arm of Louis, a baker. Two chatting shopgirls, both named Celeste, notice Dot with a new man ("Gossip"). When Jules and Yvonne's daughter Louise attempts to pet the Boatman's dog, he shouts at her, then lashes out at George and storms off. George and Dot have a strained conversation as she works on the grammar book she is using to teach herself how to read and write.
As Jules and Yvonne mock the unconventional nature of George's art, they discuss an initiative to have his work included in the next group show, which they both protest. George sketches two dogs while whimsically trying to imagine the world from their perspective, describing their relief to be free of their routines on Sunday ("The Dog Song").
As the day goes on, George quietly sketches denizens of the park ("The Day Off"): The two Celestes try to attract the attention of a pair of Soldiers, fighting over which will get the more handsome of the two; the Nurse hides from the Old Lady and attempts to attract Franz's attention; Franz and his wife Frieda argue with Louise and each other; a pair of wealthy American tourists pass by, hating everything about Paris but the pastries, and plan to return home with a baker in tow; Jules returns to further lecture George on his shortcomings as an artist, receiving in response an invitation to see his new painting; the Boatman reappears to rebuke the artists' condescending attitude.
Dot sees George, but he slips away before she can speak to him, and in retaliation, she describes her satisfying new life with Louis. She clearly misses and loves George, but Louis loves, respects and needs her in a way George cannot, and she has made her choice ("Everybody Loves Louis").
As the park empties for the evening, George returns. He misses Dot and laments that his art has alienated him from those important to him, but resigns himself to the likelihood that creative fulfillment may always take precedence for him over personal happiness ("Finishing the Hat").
Time has passed, and a heavily pregnant Dot visits George's studio. She asks for a painting George made of her, but he refuses. Jules and Yvonne come to the studio to see George's nearly finished painting. While Jules goes with George to see the painting, Yvonne and Dot hold a wary conversation. They realize they have both felt neglected by an artist, their mutual dislike fades, and they discuss the difficulties of trying to maintain a romantic relationship with an artist.
Meanwhile, Jules is puzzled by George's new technique and concerned that his obsession with his work is alienating him from his fellow artists and collectors alike. He refuses to support the work. Jules and Yvonne leave, and George, having forgotten Dot was there, goes back to work. Dot reveals the real reason for her visit: Despite the obvious fact that George fathered her unborn child, she and Louis are getting married and leaving for America. George angrily retreats behind his canvas, and she begs him to react in some way to her news. They argue bitterly about their failed relationship, and Dot concludes sadly that while George may be capable of self-fulfillment, she is not, and they must part ("We Do Not Belong Together").
In the park, the Old Lady finally agrees to sit for George, losing herself in fond memories of his childhood that George repeatedly disputes. She bemoans Paris's changing skyline, and he encourages her to see the beauty in the world as it is, rather than how it had been ("Beautiful"). The American Tourists arrive with Louis and Dot, who holds her newborn daughter, Marie. George refuses to acknowledge her as his child, and says that Louis will be able to care for her in a way that he cannot before offering a feeble apology as Dot sadly departs.
The park grows noisy: the Celestes and the Soldier argue over their respective breakups while Jules and Frieda sneak away to have a tryst. Louise informs Yvonne of her father's infidelity and a fight breaks out among Jules, Yvonne, Franz, and Frieda. The Celestes and the Soldier squabble noisily, and soon all the park-goers are fighting until the Old Lady shouts, "Remember, George!", and he stops them all with a gesture. George takes control of the subjects of his painting, who sing in harmony, transforming them into the final tableau of his finished painting ("Sunday").
As the curtain opens the characters, still in the tableau, complain about being stuck in the painting ("It's Hot Up Here"). The characters deliver short eulogies for George, who died suddenly at 31. The stage transforms back to a blank, white canvas.
The action fast-forwards a century to 1984. George and Dot's great-grandson, also an artist named George, is at a museum unveiling his latest work, a reflection on Seurat's painting in the form of a light machine called "Chromolume #7." George presents the work, grounding its connection to the painting by inviting his 98-year-old grandmother, Marie, to help him present the work. Marie shares her family history, describing how her mother, Dot, informed her on her deathbed that she was Seurat's daughter. George is skeptical of that bit of family lore, but Marie insists that the notes in Dot's grammar book, which mention George, are proof. After a brief technical failure, the Chromolume is unveiled.
At the reception, various patrons and curators congratulate George on his work while George flits among them, commenting on the difficulties of producing modern art ("Putting It Together"). Like his great-grandfather, he conjures his surroundings, allowing himself to hold multiple conversations at once. The only voice he finds he cannot ignore is that of an art critic who advises him that he is repeating himself and wasting his gifts. After the museum's patrons have left for dinner, Marie speaks to her mother's image in the painting, worrying about George. When he arrives to take her home, she tells him about her mother, attempting to pass on a message about the legacy we leave behind ("Children and Art"). She dozes off and George, alone with the painting, realizes he is lacking connection.
Weeks later, Marie has died and George has been invited by the French government to do a presentation of the Chromolume on the island the painting depicts. There George reveals to his friend Dennis that he has turned down his next commission. Feeling adrift and unsure, George reads from a book he inherited from his grandmother—the same one Dot used to learn to read—and ponders the similarities between himself and his great-grandfather ("Lesson #8").
A vision of Dot appears and greets George, whom she addresses as if he were the George she knew. He confides his doubts to her and she tells him to stop worrying about whether his choices are right and simply make them ("Move On"). George finds some words written in the back of the book—the words George often muttered while he worked. As George reads them aloud the characters from the painting fill the stage and recreate their tableau ("Sunday"). As they leave and the stage resembles a blank canvas, George reads: "White: a blank page or canvas. His favorite—so many possibilities."
After the failure and scathing critical reception ofMerrily We Roll Along in 1981 (it closed after 16 performances), Sondheim announced his intention to quit musical theatre.[1] Lapine persuaded him to return to the theatrical world after the two were inspired byA Sunday Afternoon on the Island of La Grande Jatte. They spent several days at theArt Institute of Chicago studying the painting.[2] Lapine noted that one major figure was missing from the canvas: the artist himself. This observation provided the springboard forSunday and the production evolved into a meditation on art, emotional connection and community.[3][4]
The musical fictionalizes Seurat's life. Neither of his children survived beyond infancy, so he had no heirs. Seurat's common-law wife was Madeleine Knobloch, who gave birth to his two sons, one after his death. Unlike Dot, Knobloch was living with Seurat when he died, and did not emigrate to America. She died ofcirrhosis of the liver at the age of 35.[5][6]
The show openedOff-Broadway atPlaywrights Horizons, starringMandy Patinkin andBernadette Peters, in July 1983 and ran for 25 performances. Only the first act was performed, which was still in development. The first act was fleshed out and work began on the second during that time; the complete two-act show premiered during the last three performances.[7] After seeing the show at Playwrights, composerLeonard Bernstein wrote to his friend Sondheim, calling the show "brilliant, deeply conceived, canny, magisterial and by far the most personal statement I've heard from you thus far. Bravo."[8] Three performers in the off-Broadway production did not move with it to Broadway:Kelsey Grammer, who played a Soldier/Young Man on the Bank/Alex;Mary Elizabeth Mastrantonio, who played Celeste #2/Linda Cash; andChristine Baranski, who played Blair Daniels/Clarisse (Clarisse was later renamed Yvonne).[9][10]
The musical began previews on April 2, 1984 at theBooth Theatre onBroadway and officially opened on May 2, 1984. The second act was finalized and the show was "frozen" only a few days before the opening.
Lapine directed and Patinkin and Peters starred, with scenic design byTony Straiges, costume design byPatricia Zipprodt andAnn Hould-Ward, lighting byRichard Nelson, and special effects byBran Ferren. In hisNew York Times review ofSunday in the Park with GeorgeFrank Rich wrote, "What Mr. Lapine, his designers and the special-effects wizard Bran Ferren have arranged is simply gorgeous."[11] It was the first Broadway show to utilize projection mapping (onto the spherical surface topping the Chromolume #7 sculpture), and high powered lasers that broke the 4th wall, traveling throughout the audience.
Sunday opened on Broadway to mixed critical responses. TheNew York Times theatre criticFrank Rich wrote: "I do know... that Mr. Sondheim and Mr. Lapine have created an audacious, haunting and, in its own intensely personal way, touching work. Even when it fails—as it does on occasion—Sunday in the Park is setting the stage for even more sustained theatrical innovations yet to come."[12] The musical enjoyed a healthy box office, though it ultimately lost money; it closed on October 13, 1985, after 604 performances and 35 previews. Notable replacements in the cast over the course of the run includeRobert Westenberg,Cris Groenendaal andHarry Groener all taking over the title roles andBetsy Joslyn andMaryann Plunkett taking over the roles of Dot and Marie.
Although it was considered a brilliant artistic achievement for Sondheim and nominated for ten Tony Awards, the show won only two, both for design. (The major winner of the night wasJerry Herman'sLa Cage aux Folles. In his acceptance speech Herman noted that the "simple, hummable tune" was still alive on Broadway, a remark some perceived as criticism of Sondheim's pointillistic score. Herman later denied that that had been his intention.[13])Sunday won theNew York Drama Critics Circle Award for Outstanding Musical and Sondheim and Lapine were awarded thePulitzer Prize for Drama.[14]Sunday is one of only ten musicals to win a Pulitzer.
On May 15, 1994, the original cast ofSunday in the Park with George returned to Broadway for a tenth anniversary concert, which was also a benefit for "Friends in Deed". The only members of the original cast who weren’t in attendance wereRobert Westenberg,Cris Groenendaal andBrent Spiner, who were filled in for byHoward McGillin,Jeff Keller andBruce Adler, respectively.
The first London production opened at theRoyal National Theatre on March 15, 1990, and ran for 117 performances, withPhilip Quast as George andMaria Friedman as Dot. The production was nominated for sixLaurence Olivier Awards, beatingInto the Woods, another collaboration between Lapine and Sondheim, to winBest New Musical (1991). Quast won the award forBest Actor in a Musical.[15]
The show's first revival was presented at theMenier Chocolate Factory in London, opening on November 14, 2005, and closing on March 17, 2006. The production starredDaniel Evans andAnna-Jane Casey, with direction bySam Buntrock, set and costume design by David Farley, projection design by Timothy Bird, musical direction by Caroline Humphris, and new orchestrations by Jason Carr.[16] The production transferred to theWyndham's Theatre in London'sWest End, opening on May 23, 2006, and closing on September 2, 2006.Jenna Russell replaced the unavailable Casey. The revival received sixOlivier Award nominations overall, and won five in total including Outstanding Musical Production, Best Actor in a Musical and Best Actress in a Musical.[17]
The 2005 London production transferred to Broadway in 2008, where it was produced byRoundabout Theatre Company andStudio 54. As a limited engagement, previews started on January 25, 2008, with an opening on February 21, 2008, running through June 29 (reflecting three extensions).[18]
Daniel Evans andJenna Russell (who starred in the 2005-6 London production) reprised their roles withSam Buntrock directing, musical staging byChristopher Gattelli, set and costume design by David Farley, projection design by Timothy Bird and the Knifedge Creative Network, lighting design byKen Billington, music supervision by Caroline Humphris, orchestrations by Jason Carr and sound design by Sebastian Frost. The cast includedMichael Cumpsty (Jules/Bob),Jessica Molaskey (Yvonne/Naomi),Ed Dixon (Mr./Charles Redmond),Mary Beth Peil (Old Lady/Blair),Alexander Gemignani (Boatman/Dennis), and David Turner (Franz/Lee Randolph).[19]
Reviewers praised the script and score as well as the innovative design and the entire cast. Ben Brantley wrote inThe New York Times, "The great gift of this production, first staged in London two years ago, is its quiet insistence that looking is the art by which all people shape their lives....a familiar show shimmers with a new humanity and clarity that make theatergoers see it with virgin eyes. And whileSunday remains a lopsided piece—pairing a near-perfect, self-contained first act with a lumpier, less assured second half—this production goes further than any I’ve seen in justifying the second act’s existence."[20] As described inThe New York Times, "In [Buntrock's] intimate production, live actors talk to projections, scenery darkens as day turns into night, and animation seamlessly blends into the background...In this new version, thanks to 3-D animation, the painting, currently the crown jewel of the Art Institute of Chicago, slowly comes together onstage. A sketch emerges, then color is added, and the rest gradually comes into focus, piece by piece."[21]
The Broadway production received fiveOuter Critics Circle Award nominations, threeDrama League Award nominations and sevenDrama Desk Award nominations including Outstanding Revival of a Musical, Outstanding Actor and Actress in a Musical and Outstanding Director of a Musical. Russell and Evans also receivedTony Award nominations for their performances. At the Tony Awards, Russell and Evans performed the song "Move On."
The show was performed in a four-performance concert version as part ofNew York City Center's 2016 Gala on October 24–26, 2016.Jake Gyllenhaal starred as George oppositeAnnaleigh Ashford as Dot/Marie.[22][23]
Based on the concert's reception, a limited-run revival was presented on Broadway at theHudson Theatre. Previews began on February 11, 2017, and the production opened on February 23 to glowing reviews.[24] In addition to Gyllenhaal and Ashford, it featuredBrooks Ashmanskas (Mr./Charles),Phillip Boykin (Boatman/Lee),Claybourne Elder (Soldier/Alex), Liz McCartney (Mrs./Harriet),Ruthie Ann Miles (Frieda/Betty), David Turner (Franz/Dennis),Jordan Gelber (Louis/Billy),Erin Davie (Yvonne/Naomi),Penny Fuller (Old Lady/Blair), andRobert Sean Leonard (Jules/Bob).[25] The production team included James Lapine's niece Sarna Lapine (director), Ann Yee (musical staging),Beowulf Boritt (scenic design),Clint Ramos (costume design), andKen Billington (lighting design). The producers withdrew the production from Tony Award consideration for the 2016–17 season due to its limited run, which closed on April 23.[26]
The production was scheduled to transfer to the West End at the Savoy Theatre in 2021, after a delay caused by theCOVID-19 pandemic, also starring Gyllenhaal and Ashford and directed by Lapine. The production was again delayed due to the COVID-19 pandemic with no new date given, and as of the beginning of 2025 has not yet happened or been rescheduled.[27][28][29]
As part of theKennedy Center Sondheim Celebration, the musical was presented in the Eisenhower Theatre from May 31, 2002, to June 28, 2002. Directed byEric D. Schaeffer, the cast featuredRaúl Esparza in the titular roles,Melissa Errico as Dot/Marie, and original Broadway cast memberCris Groenendaal as Jules/Bob Greenberg.
This play is of special significance for Chicago in thatSeurat's masterpiece, the backdrop of the play, hangs in theArt Institute of Chicago. TheChicago Shakespeare Theater presented the musical in 2002, directed byGary Griffin in the more intimate, 200 seat, Upstairs Theater. In September 2012, Griffin returned to direct the play in the larger downstairs Courtyard Theater. The lead roles were played byJason Danieley as George,Carmen Cusack as Dot, andLinda Stephens as the Old Lady.[30]
TheRavinia Festival inHighland Park,Illinois, presented a semi-staged production for three shows from September 3 to 4, 2004, withMichael Cerveris in the title roles,Audra McDonald as Dot/Marie, andPatti LuPone as Yvonne/Blair Daniels. It was directed byLonny Price.[31]New Line Theatre inSt. Louis produced the show in 2004.[32]
The team responsible for the London revival mounted a production in April 2009 at Seattle's5th Avenue Theatre, featuringHugh Panaro as the title roles, Billie Wildrick as Dot/Marie,Patti Cohenour as Yvonne/Naomi, Anne Allgood as Harriet/Nurse/Mrs, and Allen Fitzpatrick as Jules/Bob.[33]
From April 15 through 25, 2013, the musical was performed in the English language at theThéâtre du Châtelet in Paris, directed byLee Blakeley featuring theOrchestre Philharmonique de Radio France led byDavid Charles Abell. George was played byJulian Ovenden. Dot/Marie was played bySophie-Louise Dann. For this occasion,Michael Starobin reworked his musical arrangements, which were originally tailored to an 11-piece chamber orchestra, to match a full orchestra.[34] The production was taped for radio and TV and has been frequently broadcast in the FrenchMezzo HD channel which usually only rebroadcasts in-house productions of classical music, opera and jazz that were first presented live on its sister channelMezzo Live HD.
The 2017 Broadway revival production was presented in 2023 atPasadena Playhouse, reuniting the production team (including director Sarna Lapine and costume designerClint Ramos), starringGraham Phillips andKrystina Alabado.[35]
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|
| Characters | Broadway | London | Kennedy Center | London Revival | First Broadway Revival | Off-Broadway Concert | Second Broadway Revival |
|---|---|---|---|---|---|---|---|
| 1984 | 1990 | 2002 | 2005 | 2008 | 2016 | 2017 | |
| Georges Seurat George | Mandy Patinkin | Philip Quast | Raúl Esparza | Daniel Evans | Jake Gyllenhaal | ||
| Dot Marie | Bernadette Peters | Maria Friedman | Melissa Errico | Anna-Jane Casey | Jenna Russell | Annaleigh Ashford | |
| Old Lady Blair Daniels | Barbara Bryne | Sheila Ballantine | Linda Stephens | Gay Soper | Mary Beth Peil | Phylicia Rashad | Penny Fuller |
| Jules Bob Greenberg | Charles Kimbrough | Gary Raymond | Cris Groenendaal | Simon Green | Michael Cumpsty | Zachary Levi | Robert Sean Leonard |
| Yvonne Naomi Eisen | Dana Ivey | Nyree Dawn Porter | Florence Lacey | Liza Sadovy | Jessica Molaskey | Carmen Cusack | Erin Davie |
| A Soldier Alex | Robert Westenberg | Nicolas Colicos | Matthew Shepard | Christopher Colley | Santino Fontana | Claybourne Elder | |
| The Boatman | William Parry Act II: Charles Redmond | Michael Atwell Act II: Lee Randolph | Michael L. Forrest Act II: Charles Redmond | Alasdair Harvey Act II: Dennis | Alexander Gemignani Act II: Dennis | Phillip Boykin Act II: Lee Randolph | |
| Nurse | Judith Moore Act II: Harriet Pawling | Nuala Willis Act II: Harriet Pawling | Donna Migliaccio Act II: Harriet Pawling | Joanne Redman Act II: Harriet Pawling | Anne L. Nathan Act II: Harriet Pawling | Lisa Howard | Jennifer Sanchez Act II: Samantha |
| Mrs. | Vivienne Martin Act II: Billy Webster | Liz McCartney Act II: Harriet Pawling | |||||
| Franz | Brent Spiner Act II: Dennis | Michael O'Connor Act II: Dennis | Jason Gilbert Act II: Dennis | Steven Kynman Act II: Lee Randolph | David Turner Act II: Lee Randolph | Gabriel Ebert Act II: Dennis | David Turner Act II: Dennis |
| Celeste #1 | Melanie Vaughan Act II: A Waitress | Megan Kelly Act II: Chromolume Performer | Tracy Lynn Olivera Act II: A Waitress | Sarah French Ellis Act II: Elaine | Brynn O'Malley Act II: Elaine | Solea Pfeiffer Act II: A Waitress | Ashley Park Act II: A Waitress |
| Celeste #2 | Mary D'Arcy Act II: Elaine | Clare Burt Act II: Betty | Sherri Edelen Act II: Elaine | Kaisa Hammarlund Act II: Silent Artist | Jessica Grové Act II: Silent Artist | Lauren Worsham Act II: Elaine | Jenni Barber Act II: Elaine |
| Frieda | Nancy Opel Act II: Betty | Di Botcher Act II: Elaine | Amy McWilliams Act II: Betty | Anna Lowe Act II: Betty | Stacie Morgain Lewis Act II: Betty | Ruthie Ann Miles Act II: Betty | |
| Louis | Cris Groenendaal Act II: Billy Webster | Aneriin Huws Act II: Chromolume performer | Bob McDonald Act II: Billy Webster | Ian McLarnon Act II: Billy Webster | Drew McVety Act II: Billy Webster | Jordan Gelber Act II: Billy Webster | |
| Mr. | Kurt Knudson Act II: Lee Randolph | Matt Zimmerman Act II: Charles Redmond | Harry A. Winter Act II: Lee Randolph | Mark McKerracher Act II: Charles Redmond | Ed Dixon Act II: Charles Redmond | Brooks Ashmanskas Act II: Charles Redmond | |
| Louise | Danielle Ferland | Ann Gosling | Annie Simon | Lauren Calpin Georgina Hendry Natalie Paris | Kelsey Fowler Alison Horowitz | Gabriella Pizzolo | Mattea Conforti |
Source:[36]
Sunday in the Park with George was taped on October 21–25, 1985, at theBooth Theatre with the original Broadway cast except for Kurt Knudson andDanielle Ferland, whose roles were played by Frank Kopyc and Natalie Polizzi. It was broadcast on American television on February 18, 1986, onShowtime and on June 16, 1986, onPBS'sAmerican Playhouse. (Bernadette Peters, who was performing inSong and Dance at the time of the taping, was given time off from that play to tape this production.[37]) Warner Home Video released the recording on VHS on April 1, 1992; Image Entertainment released the DVD and laserdisc on March 23, 1999. The DVD includes full-length commentary by Sondheim, Lapine, Patinkin, and Peters.
An audio registration of the 2013 Paris production at theThéâtre du Châtelet was broadcast onRadio France, a video registration on TV channelMezzo TV.
A number ofDesperate Housewives episodes take their names from songs or lyrics from the musical. These are episodes 1.11 - "Move On," 1.21 - "Sunday in the Park with George," 2.7 - "Color and Light," 3.20 - "Gossip", 4.5 - "Art Isn't Easy," 4.11 - "A Vision's Just a Vision," 5.10 - "Sunday," 5.14 - "Chromolume No. 7," 8.5 - "The Art of Making Art," 8.9 - "Putting it Together," and 8.23 - "Finishing the Hat".
The 1984 original Broadway cast recording was released byRCA, with a remastered version released in March 2007 (ASIN: B0009A40KW). Produced byThomas Z. Shepard, the recording won the 1984Grammy Award for Best Cast Show Album.[38]
The 2005 London revival cast recording was released byPS Classics (2 disc set) on May 30, 2006 (ASIN: B000EZ9048). The most complete recording of the score to date, it contains a bonus track, the original, extended version of the cut "soldier song",[39] "The One on the Left"—of which only a fraction survives in the final show—performed by the production's Soldier and Celestes (Christopher Colley, Sarah French-Ellis and Kaisa Hammarlund).[40]
The 2017 Broadway revival cast recording was released byWarner Music Group.[41]
| Year | Award Ceremony | Category | Nominee | Result |
|---|---|---|---|---|
| 1991 | Laurence Olivier Award | Best New Musical | Won | |
| Best Actor in a Musical | Philip Quast | Won | ||
| Best Director of a Musical | Steven Pimlott | Nominated | ||
| Best Actress in a Musical | Maria Friedman | Nominated | ||
| Best Costume Design | Tom Cairns | Nominated | ||
| Best Set Design | Nominated | |||
| Year | Award Ceremony | Category | Nominee | Result |
|---|---|---|---|---|
| 2005 | Critics' Circle Theatre Award | Best Designer | Timothy Bird andDavid Farley | Won |
| 2007 | Laurence Olivier Award | Outstanding Musical Production | Won | |
| Best Actor in a Musical | Daniel Evans | Won | ||
| Best Actress in a Musical | Jenna Russell | Won | ||
| Best Set Design | Timothy Bird andDavid Farley | Won | ||
| Best Lighting Design | Natasha Chivers and Mike Robertson | Won | ||
| Best Director | Sam Buntrock | Nominated | ||
