Instrumental and vocal performances of the very highest calibre help to compensate for the complete lack of costumes and sets in this glorified concert presentation of Sunset Boulevard Sunset Blvd..
Transferring to Broadway after a hugely successful season on London’s West End, Sunset Blvd. is currently one of the hottest tickets in town, just about bringing Andrew Lloyd Webber back into popularity again.
High on concept and low on storytelling, director Jamie Lloyd’s black box production places the full focus on the artists, with the hope and trust that the audience members have seen a fully staged production of the musical before and therefore might be able to follow the story.
Designer Soutra Gilmour not only dispenses with sets but also delivers no props, much like a year eight drama class play. Gilmour’s costumes, if that is the correct term, resemble casual rehearsal wear in blacks and whites. There is no vicuna coat or silver cigarette case for Joe, and no cameras to trigger Norma’s final descent into madness.
With no sense of place and time, key scenes such as Joe’s arrival at Norma’s mansion and Norma’s return to the studio are meaningless, much as the actors do their best to convey the wonder and awe intended.
On a more positive note, the lighting design of Jack Knowles is indisputably stunning and the video design and cinematography by Nathan Amzi and Joe Ransom are superbly realised. Highlights of the live camera work include a younger Norma appearing as Joan of Arc during the “New Ways to Dream” sequence. Joe’s journey through the theatre and out onto the street during “Sunset Boulevard” is great fun, even if it completely shatters the fourth wall in the process.
Lloyd has drawn towering performances from the cast, and these performances literally tower over the audience when magnified up onto the enormous pristine LCD screen. The effect works best when a character is shown on the screen in subtext to the actual scene playing on the stage; for example, seeing Betty’s fiancé Archie shed a tear while Betty works closely with fellow screen writer Joe Gillis. One puzzling misfire of the screen use is the display of only the back of the head of famed director Cecil B. DeMille, completely losing the humour and pathos of his key act two moments.
Choreographer Fabian Aloise contributes music video type movement for the well rehearsed ensemble.
Delivering a truly thrilling rendition of David Cullen and Lloyd Webber’s orchestrations, conductor Alan Williams leads a lush orchestra of 18 musicians. Musical excellence is completed by the superb vocals of the full company, all presented in immaculate, immersive condition by sound designer Adam Fisher.
With the primary focus on drama, the twin comic songs ”The Lady’s Paying” and “Eternal Youth Is Worth a Little Suffering” are cut for this production. Movie-like credits are shown during the musical interlude after “Every Movie’s A Circus,” which is usually a car chase, with further cinematic credits rolling during the play-off.
Leading lady Nicole Scherzinger gives everything she has to the role of Norma Desmond, balancing drama with moments of humour, moving with lithe elegance, and delivering soaring vocals to raise the roof of the St James Theatre. Scherzinger’s relative youth and beauty rob the role of its usual frailty and vulnerability but her performance stands on its own merits and the audience adores her. Scherzinger’s performance of “With One Look” and “As If We Never Said Goodbye” absolutely bring down the house.
At this performance, the role of Joe Gillis was played by Diego Andres Rodriguez. Rodriguez performed this massive role with abundant, charm, and charisma, and, it must be noted, is extremely photogenic in those massive close-up shots. Based on this performance, Rodriguez could readily assume this role as his own if and when regular leading man Tom Francis returns to the UK.
Curiously dressed as though she has just come from an aerobics class, Grace Hodgett Young nonetheless in habits the role of hardy ingenue Betty Schaefer with a compelling presence.
Largely seen on the LCD screen, David Thaxton still manages to flesh out the role of mysterious man servant Max in a fully rounded manner.
If the austere concept for this staging of Sunset Blvd. is accepted, there is certainly plenty to enjoy in the visuals, performances, and music.
Sunset Blvd. plays at St James Theatre, New York. For tickets, click here.
Photos: Marc Brenner