The show lost out big to La Cage aux folles at the Tony Awards. While both shows are beloved classics, this one has grown into the more acclaimed piece, and it losing Musical, Score, Book, Direction, and Actor all to the same show didn't quite sit right. The show also lost Actress as well, though not to La Cage. Of course it is worth noting that Sunday took home the Pulitzer Prize for Drama, a rare instance of a musical taking that honor.
The 2017 revival is a strange case. Despite strong notices it went unrecognized, but not because of a lack of votes. The show's producers took it out of competition with the explanation that there were too many quality works that year, so even if people wanted to vote for it, they couldn't.
Cant Unhear It: Given they're two of the most iconic Broadway actors ever and deliver some of their all time best work, it's kind of hard to not think of Mandy Patinkin and Bernadette Peters as George and Dot/Marie.
While they initially seem to be obnoxious straw characters at first, Jules and Yvonne actually come across as fairly sympathetic and fleshed out as the show goes on.
Marie is also popular for being a genuinely kind and loving figure to George who’s wiser than she first appears to be. An interesting example since she’s played by the actress who plays Dot, but in terms of the overall story, while she’s part of a leading dual role, her actual character is more supporting.
The scene with Dot powdering herself is a recreation of Seurat's painting "Jeune femme se poudrant". Dot later refers to it as "her" painting and Georges mentions he has repainted it with another model (which, particularly with the original production, explains why Dot looks nothing like the figure in the painting).
If recalled correctly, the Celestes were gossiping that "George has another woman." This leaves room for the audience to infer that George is with Madeleine Knobloch, his real life mistress, (and painted her over Dot's painting).
There are numerous references to visiting the follies, which would be the subject of Seurat's later painting "Le Chahut".
The painting "Une Baignade, Asnieres" makes a brief appearance (just before the song "No Life"). It's not entirely clear from context, but the idea is that the action of the painting is taking place on the bank of the Seine opposite to La Grande Jatte, since many art critics believe that's where it was painted.
George's laser machines are named "Chromolumes" after a phrase in one of Seurat's personal letters, in which he described himself as a "chromo-luminarist". Another subtler reference might be that modern day George, like his ancestor, thinks of himself as both a scientist and an artist (he describes himself as "an inventor-sculptor").
Moment of Awesome: The completion of the painting at the climax of Act I. It's one thing to see Georges finally finish his magnum opus, but having it set to an incredible piece of music combined with brilliant staging that recreates the whole thing makes for a truly thrilling moment.
Jerkass Woobie: George. He's incapable of connecting to others which makes him come across as cold, unfeeling, and even cruel at times. Despite this it's clear George is unhappy in his isolation and actually does desire companionship and love, but he's too obsessed with his work to pursue it. And while his creative efforts immortalize him, he ultimately dies alone at the young age of 31.
Platonic Writing, Romantic Reading: The interaction between the younger George and the shade of Dot comes off as quite romantic, with lyrics like "We will always belong together," despite the fact that Dot is his great-grandmother and long dead.
That's Brent Spiner as Franz/Dennis in the original cast. Additional big names that were in the Off Broadway version were Christine Baranski as Yvonne (then called Clarisse), Kelsey Grammer as The Soldier, and Mary Elizabeth Mastrantonio as Celeste #2. Unlike Spiner, all those three left before it moved to Broadway.
You'll also notice a few actors who are better known for being in the original Into the Woods cast. Specifically, Robert Westenberg (Cinderella's Prince) as The Soldier/Alex, Danielle Ferland (Little Red Riding Hood) as Louise, and Barbara Bryne (Jack's Mother) as The Old Lady/Blair Daniels.
Signature Song: "Finishing The Hat", with "Move On", "Putting It Together", and "Sunday" following it.
They Wasted a Perfectly Good Character: Despite the first act’s supporting cast being fairly interesting characters with their own drama, they’re pushed to the side in the second half, with their arcs not getting any official closure. Granted this is clearly an artistic choice that ties into George’s inability to truly connect with and care about the people around him, but still, if you’re hoping to see how the things turn out for anyone other than George, Dot, and Marie, you’re gonna be dissapointed. It's also arguably the whole point of the play — their real-life struggles, irritants and dramas, petty or otherwise, interesting or otherwise, are for better or worse destined to be forgotten by the world at large. But through George's art, they themselves gain a form of immortality.
Unintentional Period Piece: The portrayal of the art world in the second act, and George's laser-themed artwork, date the show firmly in The '80s.
