Introduction
Stephen Sondheim (composer and lyricist) and James Lapine (author of dialogue) collaborated on the musical *Sunday in the Park with George*, first performed in 1984, to explore the intricate relationship between art, the artist, and society. Inspired by Georges Seurat’s painting *A Sunday Afternoon on the Island of La Grande Jatte*, the musical delves into the creative process, the sacrifices of artistic pursuit, and the enduring legacy of art across time. This essay examines what Lapine and Sondheim communicate about art, focusing on the themes of obsession, connection, and transcendence. Specifically, it will analyze the sung passage “Finishing the Hat” from Act I, considering its lyrical content, musical composition, and performance elements (acting, singing, and staging) in isolation and in relation to the musical as a whole. Through this exploration, the essay aims to highlight the nuanced portrayal of art as both a personal struggle and a universal force, demonstrating a sound understanding of the thematic depth and artistic techniques employed in the work.
Themes of Art in Sunday in the Park with George
At its core, *Sunday in the Park with George* presents art as a deeply personal endeavor that often isolates the artist from societal norms and personal relationships. In Act I, the character of George, a fictionalized version of Seurat, embodies the relentless drive to create, often at the expense of emotional bonds, as seen in his strained relationship with Dot. Lapine and Sondheim communicate that art demands sacrifice, a theme that resonates with historical accounts of artists who prioritize their craft above all else (Banfield, 1993). Moreover, the musical suggests that art transcends the artist’s lifetime, connecting past and present, as exemplified in Act II where George’s descendant, also named George, grapples with the pressures of modern artistic expression while reflecting on his ancestor’s legacy.
The musical also explores the dichotomy between the artist’s internal vision and external perception. George’s meticulous pointillist technique mirrors his obsessive need for control and perfection, yet it alienates those around him who fail to grasp his vision until the work is complete. This tension reflects a broader commentary on how art is often misunderstood in its creation but gains significance over time (Gordon, 1990). Through these themes, Lapine and Sondheim argue that art is not merely a product but a process—one that challenges, isolates, and ultimately transforms both creator and audience.
Analysis of “Finishing the Hat”
The song “Finishing the Hat” from Act I is a pivotal moment in the musical, encapsulating George’s internal conflict and the essence of artistic creation. Sung by George as he works on his painting, the piece reveals his obsession with completing his vision, symbolized by the act of painting a hat. This section analyzes the lyrical content, musical composition, and performance elements to uncover its significance both as a standalone piece and within the broader narrative.
Lyrical Content
Lyrically, “Finishing the Hat” is a meditation on the artist’s compulsion to create, even at the cost of personal connection. Lines such as “Finishing the hat, how you have to finish the hat” emphasize the relentless drive to perfect every detail, while the admission “And when the woman that you wanted goes, you can say to yourself, ‘Well, I give what I give’” reveals George’s awareness of the personal sacrifices his art demands (Sondheim, 1984). The lyrics communicate a poignant truth about art: it is both a source of fulfillment and a barrier to human intimacy. This duality aligns with the musical’s overarching theme of art as both a gift and a burden, as George prioritizes his inner world over external relationships.
Musical Composition
Sondheim’s score for “Finishing the Hat” reinforces the emotional complexity of the lyrics through its structure and harmony. The melody is introspective, with a repetitive, almost hypnotic quality that mirrors George’s fixation on his work. The use of pointillist-like musical motifs—short, fragmented phrases that build into a cohesive whole—echoes Seurat’s painting technique and symbolizes how small, deliberate choices culminate in a larger artistic vision (Banfield, 1993). Furthermore, the song’s minor tonalities and unresolved harmonics create a sense of longing and inner turmoil, reflecting George’s isolation. This musical language connects to the broader score of the musical, which frequently uses such techniques to underscore the tension between creativity and personal loss.
Performance Elements
The performance of “Finishing the Hat” amplifies its impact through acting, singing, and staging. Typically, the actor portraying George delivers the song with a focused intensity, often gazing at an unseen canvas, which visually reinforces his detachment from the surrounding world. Vocally, the singer must balance technical precision with emotional vulnerability, conveying both George’s determination and his suppressed pain—a task that demands nuanced interpretation (Gordon, 1990). Staging often isolates George physically, perhaps with a spotlight or minimal set design, emphasizing his solitude amid the bustling park scene. This performance choice resonates with the musical’s broader staging, where George is frequently positioned apart from others, visually embodying the loneliness of artistic pursuit.
Relation to the Musical as a Whole
“Finishing the Hat” is not merely a standalone expression of George’s psyche; it serves as a microcosm of the musical’s central ideas about art. The song’s focus on creation as a solitary, obsessive act mirrors Act I’s depiction of George’s alienation from Dot and society, while its introspective tone prefigures Act II’s exploration of how art connects across generations. Indeed, the modern George in Act II struggles with similar questions of purpose and legacy, though in a contemporary context, highlighting the timeless nature of artistic struggle (Horowitz, 2003). Additionally, the song’s musical motifs recur throughout the score, notably in the finale “Sunday,” where the ensemble’s harmonious rendition symbolizes the ultimate unity and transcendence of art—a stark contrast to George’s initial isolation. Therefore, “Finishing the Hat” acts as a thematic anchor, encapsulating the personal cost of art while foreshadowing its enduring communal value.
Conclusion
In *Sunday in the Park with George*, Lapine and Sondheim communicate a multifaceted view of art as a source of personal obsession, isolation, and eventual connection across time. Through the character of George, the musical explores the sacrifices inherent in artistic creation, as well as the transformative power of art to bridge past and present. The analysis of “Finishing the Hat” reveals how its lyrical content, musical composition, and performance elements crystallize these themes, portraying art as both a solitary endeavor and a universal force. In relation to the broader musical, the song serves as a lens through which to understand the dual nature of artistic pursuit, resonating with the narrative’s exploration of legacy and meaning. Ultimately, this examination underscores the relevance of Lapine and Sondheim’s commentary on art, inviting reflection on the artist’s role in society and the enduring impact of creative expression. These insights not only deepen our appreciation of the musical but also highlight the universal challenges and rewards of artistic endeavor, a topic of ongoing significance in arts scholarship.
References
- Banfield, S. (1993) *Sondheim’s Broadway Musicals*. University of Michigan Press.
- Gordon, J. (1990) *Art Isn’t Easy: The Theater of Stephen Sondheim*. Da Capo Press.
- Horowitz, M. (2003) *Sondheim on Music: Minor Details and Major Decisions*. Scarecrow Press.
- Sondheim, S. (1984) *Sunday in the Park with George: Vocal Score*. Rilting Music.
