回复：【J评论】《星期天和乔治在公园》看到一幅活生生的画

Mr. Gyllenhaal invests every note he sings with the rapt determination of someone trying to capture and pin down the elusive. Watch Seurat at work, dabbing specks of color on his canvas, and listen to the vigor (and rigor) with which he invests the repetition of those colors’ names.
吉伦哈尔先生把他唱的每一个音符都投入到一个人的身上，他的决心是想要捕捉和把握这个难以捉摸的人。。在工作中看Seurat，在他的画布上涂抹颜料，他对这些重复的颜色的名称再次赋予了新的活力。

Yet you can also sense a different, less cerebral urge tugging at his attention, and it’s embodied with gorgeous precision by Ms. Ashford (a Tony winner for “You Can’t Take It With You”). Her performance at City Center was charming; this time, it’s much more than that, delivered with both spontaneous warmth and an anatomical exactness that suits a veteran artist’s model and is matched by her eloquent singing.
然而，你也可以感觉到不同，女人们的大脑冲动引起了他的注意，它由Ashford女士（托尼得主《浮生若梦》）以华丽的精确度体现出来。她的表演在城市中心是迷人的，这一次，它远远不止如此，交付与两种自发的温暖和解剖正确，这是一种适合一位资深艺术家的精确的解剖结构，并且与她的歌声相匹配。

The extraordinary and undeniable chemistry that flows between Dot and Seurat is not based in the usual mind (his) versus body (hers) dichotomy. Mr. Gyllenhaal’s Seurat may be routinely described as cold and distant, but he’s unmistakably a sensualist, too. And while Dot may be unlettered, Ms. Ashford makes you appreciate the acuity of her insights into what George is and does. When they sing the duet “We Do Not Belong Together,” it feels more heartbreaking than ever because they in fact so perfectly complete each other.
非凡的和不可否认的化学，在Dot和Seurat之间流动并不以平常心（他的）与身体（她的）分裂。吉伦哈尔先生的Seurat可能被描述为冷漠，但他毫无疑问也是一个感官主义者。虽然Dot可能胸无点墨，Ashford女士让你欣赏她对乔治所做的事情的敏锐洞察力。当他们唱二重唱“我们不属于一起”，这感觉比以往任何时候都更伤心，因为他们实际上如此完美地配合完成。

The supporting cast, so generously laden with marquee talent it’s almost an embarrassment of riches, includes Ruthie Ann Miles; Phillip Boykin; Robert Sean Leonard; Brooks Ashmanskas; and, as Seurat’s self-involved elderly mother, a very touching Penny Fuller (whom I saw as Eve Harrington in “Applause,” one of my first Broadway shows).
配角，如此慷慨的拥有才华横溢的人才这几乎是一种财富的窘境，包括Ruthie Ann Miles；Phillip Boykin；Robert Sean Leonard；Brooks Ashmanskas；和，作为Seura自己年迈的母亲，一个非常感人的Penny Fuller（我在“掌声”中看到Eve Harrington，我的第一个百老汇演出）。

They all ground their characters with quick, vivid strokes that avoid both sketchiness and caricature. Make that two sets of characters. These performers all return in the second act to become members of the art world of the late 20th century, a realm in which another artist named George (Mr. Gyllenhaal again) is feeling increasingly ill at ease and creatively blocked. Ms. Ashford shows up as Marie, his nonagenarian grandmother, who is also Dot’s daughter and, she insists, Seurat’s child.
他们都用快速的速度，避免了素描和漫画的笔触。使这两组字符。这些表演者都在第二幕中回归，成为第二十世纪末艺术界的一员，另一位名叫乔治（吉伦哈尔先生）的艺术家却感到越来越不自在，创造性受阻。Ashford女士像玛丽一样，他的九十多岁的老奶奶，又是Dot的女儿，她坚称，Seurat的孩子。

The conventional wisdom has always been that the second act of “Sunday” is far weaker than the first, more gimmicky and glib. Ms. Lapine’s production suggests that point of view is dead wrong.
传统的观点都认为“星期日”第二幕是远远弱于第一幕，更多的噱头和油腔滑调。Lapine女士的作品表明这种观点是错误的。

For one thing, the art that the latter-day George produces, a light installation called a chromolume, has usually been rendered in terms that feel satiric and cheesy, and certainly unworthy of any heir to Seurat. (The second act begins at the Art Institute of Chicago, home to “La Grande Jatte” and to George’s latest installation.) For this production, though, its creators have come up with a gasp-making pyrotechnic rain of multicolored lights, which finds the pointillism in fireworks.
一方面，现代乔治生产的艺术，一种叫做色光灯的光装置，通常被在这方面感到讽刺和俗气的渲染，当然不值得任何继承人向Seurat致敬。（第二幕开始在芝加哥艺术学院，家里“拉格兰德大碗”和乔治的最新装置。）这一作品，虽然它的创造者们发明了一种由色彩斑斓的光所制造的烟火，并找到点烟花的点。

Even more important, though, is the emotional conviction — the anguished, hopeful yearning — that Mr. Gyllenhaal and Ms. Ashford bring to their parts here. For once you understand completely how these characters are extensions, on many levels, of the people we met in the first act and how crucial vision, in all sense of the word, is to their lives.
更重要的是，虽然情感信念的痛苦，对救世主充满希望的向往，Gyllenhaal先生和Ashford女士把他们的部分带到这里。一旦你完全了解这些角色是如何扩展的，在许多层面上，我们在第一幕中遇到的人，以及如何表达在视觉上的所有意义，至关重要的是，他们的生活。

“Can’t you see the shimmering?” Seurat asks of his painting. There is no canvas on the stage. But of course you see the shimmering. It’s right there in his eyes.
“你看不见微光吗？“修拉问他的画。舞台上没有画布。但你当然看到闪烁。就在他的眼睛里。

消息来源：https://www.nytimes.com/2017/02/23/theater/review-sunday-in-the-park-with-george-jake-gyllenhaal.html?_r=0

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