Sunday in the Park with George as presented by Odd Theatre Company

Society Name: ODD Theatre Company, Newbridge

Show Name: Sunday in the Park with George

Adjudicator Date of Attendance: 29.11.2024

Brief Overview of the Show and Evaluation of Front of House

The moment you step into ODD Theatre Company’s production of Sunday in the Park with George, the warmth of the welcome immediately sets the tone for an engaging, intimate theatre experience. The front-of-house was notably welcoming and had a sense of ease to it, allowing patrons to feel immediately comfortable as they arrived. The theatre's layout itself was a curiosity—a space that required guests to descend downstairs to the auditorium. Yet, this unexpected element added to the charm of the venue, contributing to the overall unique atmosphere of the production.

As for the space itself, the intimate studio setting was absolutely ideal for the production. The design of the venue, though compact, transported the audience effectively into the world of the show. From the very first musical notes, the atmosphere was set, and the production continued to captivate through to the final bow. The Front of House staff seemed genuinely focused on creating an enjoyable experience for everyone, and it’s clear that ODD Theatre Company values the entire audience experience, beyond just what happens on stage.

Director – Direction and Production

The direction of Sunday in the Park with George by Cian O’Dowd was a remarkable display of artistry and attentiveness to detail. The director’s approach was simple, yet profoundly effective, balancing the complexity of Stephen Sondheim’s musical with the intimacy of the studio theatre space. One of the most striking features was how the director maintained clarity in the storytelling, ensuring that each character’s journey was distinct and important.

The emotional depth of both George/George and Dot/Marie was explored with great nuance, drawing the audience into their internal conflicts and desires.

In particular, the portrayal of George as both the artist in 19th-century Paris and the modern-day artist in the United States was skillfully handled, allowing for a seamless transition between the two characters. The emotional journeys of the two Georges and Dot/Marie were interwoven with such subtlety that it became difficult to believe they were played by the same actors. This was an achievement, considering the emotional range required by both characters, yet the director’s sensitive handling made it clear that these transitions were intentional and thought-provoking.

The director also succeeded in guiding the cast to create a show where no character felt secondary. Every performer contributed meaningfully to the production, which is particularly impressive given the large ensemble of characters present in Sunday in the Park with George. The directing choices ensured that each member of the cast stood out in their own right while contributing to the overall impact of the performance.

The emotional journey of the show, despite its inherently melancholic undercurrent, was not overly sentimental. The production left me emotionally moved, yet not in the manner of a tragic ending—rather, there was a quiet resonance that stayed with me long after the final bow. This balance between the rawness of emotion and the subtlety of the storytelling speaks to the director’s skill and understanding of the material.

Musical Director – Direction and Orchestra

The musical direction of this production by Keelin Kilduff was nothing short of extraordinary. Despite the relatively small size of the cast and instruments, the sound was rich and full, giving the impression of a much larger ensemble. The harmonies were blended perfectly, with each voice maintaining its distinctiveness while never overpowering another. The result was a captivating and cohesive sound that was integral to the emotional impact of the show.

One notable strength of the musical direction was the ability to balance the limited accompaniment—a keyboard and a midi laptop—without compromising the depth of the musical experience. The music felt full and complete, and the choice of instrumentation seemed to enhance the intimacy of the setting rather than detract from it. This was further aided by the musical director’s on-stage presence, which did not interfere with the flow of the performance. On the contrary, it felt natural and added a layer of connection between the performer and the audience, ensuring that the music was always in harmony with the emotional beats of the show.

Choreographer – Choreography

While Sunday in the Park with George is not a show characterized by extensive choreography, the movement throughout the musical was striking in its precision and thoughtfulness. The choreography, also by Cian O’Dowd, was less about elaborate dance sequences and more about subtle, intentional movements that served the emotional storytelling. Each movement was carefully designed to enhance the performance, and it was clear that the vision was to create a seamless integration of physicality with the overall piece.

Thoughtfully staged there was a clever use of movement within the songs that not only helped to convey the emotional depth of the characters but also contributed to the flow and rhythm of the production. The ensemble was especially strong in this aspect, as their coordinated movements enhanced the dynamics between the main characters and contributed to the visual richness of the production.

Leading Principles – Singing and Acting

The performances of the lead roles—George/George (Peter Manning) and Dot/Marie (Orla Williams)—were extraordinary, each bringing a unique emotional depth to their respective characters.

George/George (Peter Manning) - Peter's portrayal of George was a masterclass in versatility. His seamless transition between the two Georges—one a 19th-century artist, the other a modern-day artist struggling with his creative identity—was captivating. Manning’s vocal performance was effortless, moving through ranges and tonal qualities with a natural ease. His portrayal of George in both settings was nuanced and deeply felt, and his ability to switch between the two was nothing short of impressive. The physicality of both Georges was striking, with Manning adjusting his energy, movement, and mannerisms to reflect the difference in time and place.

Dot/Marie (Orla Williams) - Orla was equally mesmerizing as Dot and Marie. She delivered a portrayal of Dot that was at once stoic and emotionally raw, capturing the internal conflicts and emotional complexity of the character with incredible depth. Her transformation into Marie in Act 2 was remarkable—she almost seemed like a completely different person, from her physicality to her vocal tone and energy. Her vocal performance was stunning, effortlessly navigating the challenging score, and she handled the emotional journey of both characters with impressive skill and sensitivity.

Supporting Roles – Singing and Acting

Jules/Bob Greenberg (Paul McCarrick) - Paul delivered a versatile and confident performance as both Jules and Bob Greenberg. His portrayal of the self-important contemporary of Surat was distinctly different from his performance as Bob, yet each character was fully realized, and the relationships between him and other characters were convincingly drawn. His vocal performance was also strong, adding to the production's overall vocal balance.

Old Lady/Blair Daniels (Helena Begley) - Helena’s portrayal of the Old Lady was both hilarious and charming. Her comedic timing was impeccable, and she brought a lively presence to the stage. As Blair Daniels, she was effervescent, creating a contrasting character full of energy and wit. She was vocally strong with a really rich tone.

Franz/Dennis (Daniel Ryan) - Daniel delivered two enjoyable performances as Franz and Dennis. His portrayal of the bumbling technician was particularly memorable, capturing both the character’s nervousness and awkwardness with ease. His interactions with the nurse as Franz were both funny and endearing.

Celeste #1/Waitress (Liz Stears) - Liz was a strong performer, particularly in her portrayal of the Waitress. Her physicality stood out in both roles, and she was an essential member of the ensemble, maintaining clear vocals and a consistent character throughout.

Celeste #2/Elaine (Emmagene Cooke) - Emmagene complemented Liz Stears well as Celeste #2, creating a balanced dynamic. Her portrayal of Elaine was understated yet strong, and her vocals provided a lovely contrast to George’s dominant character as Elaine.

Nurse/Mrs./Harriet Pawling (Emma O’Dowd) - Emma commanded attention on stage, delivering an engaging comedic performance as the Nurse. She shifted effortlessly between her roles as Mrs. and Harriet, showcasing strong vocals and presence without overshadowing the rest of the cast.

Boatman/Charles Redmond (Conor Kilduff) - Conor’s performance was confident and grounded. He portrayed both the Boatman and Charles Redmond with ease, bringing experience and clarity to both roles.

Frieda/Betty (Cherise O’Moore) Cherise brought energy to her portrayal of Frieda, creating great chemistry with Franz, and a coy clever energy during her amorous interactions with Jules. As Betty, she played a subtler role but conveyed depth with a strong, expressive voice.

Mr./Lee Randolph (Adam Trundle) - Adam skillfully portrayed both the loud tourist and artist Lee. His comedic portrayal of the tourist was particularly effective, while his depiction of Lee showed a quieter, introspective side.

Louis/Billy Webster (Rory Dignam) - Rory’s portrayal of Louis and Billy was subtle yet impactful. He blended well into the ensemble, providing a quiet presence without drawing unnecessary attention to himself.

Soldier/Alex (Cian O’Dowd) - Cian’s comedic take on the Soldier was memorable, with great physical comedy and interactions with the Celeste’s and his life-sized puppet friend. As Alex, he brought flair and contrast to the role.

Yvonne/Naomi Eisen (Keelin Kilduff) - Keelin Kilduff portrayed Yvonne with quiet strength and emotional depth, until her emotional outburst. As Naomi, she contributed to the ensemble with a grounded presence, enhancing the emotional layers of the production.

Louise (Elsa Moynihan) - Elsa held her own among the adult performers with a confident portrayal of Louise. She handled the complex score effortlessly and delivered a self-assured performance with strong vocals.

Chorus/Ensemble – Singing, Acting, and Choreography

The ensemble in this production was simply superb. The cast worked seamlessly together, blending both vocally and physically in a way that created a cohesive and dynamic whole. The ensemble’s ability to maintain their individuality while contributing to the collective energy of the production was a standout feature of the performance.

The transition from Act 1 to Act 2 was handled brilliantly. The ensemble took on completely new characters and time periods, and the shift was both believable and impressive. The ensemble’s ability to embody these characters and shift between different contexts further demonstrated the depth of the cast’s talent.

Stage Management & Set Design

The set design for Sunday in the Park with George was simple, yet effective, making full use of the small stage. The clever use of portions of the painting, with stands and easels, helped create a visual representation of the artwork central to the show. The use of the space was highly efficient, with the characters themselves building the set during the opening number—a clever touch that added a layer of theatricality and also made the audience feel like they were part of the creative process. I would have loved to see this trope carried through all the scene changes, to add a further layer of storytelling.

In Act 2, the lightbox was a nostalgic nod to the 1980s, effectively marking the shift in time. The set design was simple but communicated the necessary changes in setting and tone.

Technical – Lighting and Sound

The technical aspects of the production were expertly executed. 

The lighting was subtle yet effective, with a good balance of color that helped define the different settings in the show. The focus was well done with no hot spots or dark patches. The cyc was used to great effect, changing colors to mark the transition between the differing locations. I particularly enjoyed the colour changing during Colour & Light. However, if I had one criticism it would be that it didn’t change on every colour and some of the lighting cues could have been slightly more precise.

Sound was beautifully balanced, ensuring that the powerful vocals were heard clearly without overpowering the intimacy of the space. The choice to keep the sound at a manageable level was particularly effective in maintaining the intimacy of the performance while still allowing the voices to resonate.

Visual – Costumes, Hair, and Make-up

The costumes in Sunday in the Park with George were mostly on point, with a clear understanding of the period and visual elements that reflected the painting. The colors were well chosen, complementing the aesthetic of the artwork while allowing the characters to stand out. However, there were a few small details, such as the shape of the bustles and uneven hems, that could have been addressed to provide even more period accuracy. 

The shift in costumes between Act 1 and Act 2 was particularly effective, with the 1980s costumes standing out as a well-considered visual shift. The hairstyles were generally period-specific, though there were a few moments where they did not fully align with the intended time periods.

Adjudicator's Suggestions/Comments

Overall, Sunday in the Park with George was an outstanding production by ODD Theatre Company, showcasing a talented cast and creative team. The direction, music, acting, and technical elements all worked harmoniously to create an immersive and moving experience. A few small adjustments in lighting cues and costume details could elevate the production even further, but these did not detract from the overall quality.

This production of Sunday in the Park with George left me emotionally impacted and thoroughly impressed by the depth of talent and passion on display. It is clear that ODD Theatre Company has a dedicated and skilled team, and this performance will undoubtedly be remembered for its emotional resonance, captivating performances, and artistic excellence. It is difficult to find suggestions to work on moving forward other than finessing the finer details. I would be interested to see how the team would handle a bigger cast, but their strength seems to be in smaller cast shows, and “if it ain’t broke, don’t fix it”.

Photos kindly provided by the society; Photographer: Liam Mullen