We have represented the pointillist nature of the painting by using fabrics that are textural, and have chosen to offer a greatly simplified version of Dot's opening dress - it opens when she pulls it apart and hands it to the soldier, who stands holding it on his arm until she returns from her "turn" and then he returns it to her to put back on.

The Parisian artist, George works at his easel on successive Sunday afternoons with his model and mistress, Dot. The relationship between them disintegrates as It becomes clear to everyone that George's consuming love is for his art as he strives to complete his painting. Dot decides that since she is pregnant with George's child and needs to give it security, she will accept a baker's proposal of marriage and go with him to America. Act Two is in the mid 1980's in an American museum, where the artist's great-grandson is a floundering multi-media sculptor. Artistically blocked and amidst great angst, he revisits La Grande Jatte where he is poignantly reminded by the ghost of his great-grandmother that art isn't easy and that he must "Just Keep Moving On".