In May 1985, Sunday in the Park with George opened at the Booth, and was hailed as a theatrical breakthrough by the then drama critic of The New York Times. Indeed, it was such a breakthrough that it could not be contained by a single review. Week after week, some further significance in the work was discovered and discussed in the paper’s arts pages; every Sunday was a Sunday in the Times with George; it broke all records as Broadway’s longest-running review. The effect was to keep a steady stream of traffic heading to the box-office—not enough for the show to recoup its investment but enough to let it stagger on for a year and catch the eye of the Pulitzer jury, which gave it the prize for 1985. I’m told that at a Times editorial meeting shortly afterwards there was consternation that the paper hadn’t won a single Pulitzer that year. Someone said: “But we did. For Drama.”

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