Sunset Boulevard

From May 4 to 19, the National Theatre at St Kilda is the proud host of CLOC Musical Theatre’s extravagant production of Sunset Boulevard. Andrew Lloyd Webber’s musical is set in 1950s Hollywood, where struggling screenwriter Joe Gillis meets and forms a dependent relationship with silent film era star Norma Desmond.   

CLOC’s show is the first fully staged Australian production since 1996. Directed by Chris Bradtke, it’s a technical marvel. Costume Designer Nerissa Seville’s work is a standout: layered, furred and sequinned 1920s gowns for Norma, each more colourful and excessive than the last. This is in addition to the 250 hand stitched costumes for the rest of the cast. 

Set Designer Brenton Staples, with the Set Construction team led by Grant Alley, worked very hard too, designing and creating the opulent and grand Desmond mansion, as well as portable Hollywood icons like the Paramount Pictures gates, Stage 18 and Schwab’s Drug Store. Attention to detail, especially the main set, is palpable: furniture pieces, floors, general colouring and style all scream Norma. The numerous photo frames are a special touch as they metaphorically signify Norma’s desire to live in the past.

Set changes and lighting cues are tight and sharp, but group scenes are difficult to manoeuvre.  Sometimes it’s difficult to know where to look, and who’s talking. A spotlight might help. Having said this, the audience is rewarded for watching. The large ensemble consists of skilled performers who have established character mannerisms and quirks. A lady in a grey dress made me laugh out loud during the New Year’s Eve scene, for her inebriated impression. 

The enormous cast, however, is not necessarily utilised. Most scenes consist of Joe, Norma and Max.  Group numbers are easy on the ear, however; no doubt the accomplishment of Musical Director Andrew McCalman. 

Among the cast of 26, performances are solid and perfectly fine, but no one shines. This includes Maureen Andrew as Norma Desmond, Mark Doran as Joe Gillis, Phillip Lambert as Max, and Alexandra Clover as Betty. There was also a severe lack of chemistry between Norma and Joe, this is not necessarily bad as theirs is a relationship of convenience.

Choreographer James Rooney missed opportunities to enhance the show. Too many song numbers consisted of cast members standing motionless. This compromised the natural momentum of the show. Additionally mics weren’t loud enough. I was struggling to hear, and I was sitting 7 rows back.  

The graphics on the translucent screen was a terrific effect.  A car chase is a filmic convention but worked beautifully. 

CLOC’s production is an enjoyable comeback (sorry, return) of the Andrew Lloyd Webber musical.

Tammy Shmerling

Images: (top) L to R: Mark Doran (Joe), Phil Mambert (Max) and Maureen Andrew (Norma Desmond) and  (lower) Norma's mansion as it neaed completion.

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