Sunset Boulevard

In the words of Norma Desmond: 'I don't know why I'm frightened', I am in a state of mild terror, with the task of critiquing this epic musical, starring the legendary Sarah Brightman (one of my all-time favourite singers) for my 50th review for Stage Whispers. Andrew Lloyd Webber's Sunset Boulevard is based on the iconic 1950 black and white film noir directed by Billy Wilder. The original 1993 West End premiere of the musical (where Patti LuPone originated the role of Norma) and the 1994 Broadway production (originally starring Glenn Close) won 7 Tony Awards including best musical, score and book, clocking up 2,500 performances between them! Integrating spoken dialogue, songs and dance numbers, the musical seamlessly fuses grand orchestral anthems, haunting ballads, and jazz influenced tunes - arguably one of Andrew Lloyd Webber’s most remarkable scores. Academy Award winning lyricist Don Black has worked on other musicals with Webber including Song & Dance, Aspects of Love and Starlight Express. British playwright, and film director Christopher Hampton has also worked with Webber on Stephen Ward - The Musical. It's been nearly three decades since Sunset Boulevard graced our Aussie shores with the original cast members Debra Byrne and Hugh Jackman.

Director Paul Warwick Griffin (The Curious Incident of the Dog in the Night-Time, Evita) gives us a re-imagined production featuring all the glitz and glamour of 1950's Hollywood whilst expressing ideas relevant to modern audiences. Griffin states that Sunset Boulevard 'is a cautionary tale of the dangers of becoming consumed by one's own imprint on the world.' Tonight's official premiere at Melbourne's Princess Theatre was warmly embraced by the theatre community, who expressed their appreciation with a lively standing ovation.

Kudos to Morgan Large (Sister Act, Joseph & The Amazing Technicolor Dreamcoat) whose contribution as Set and Costume Designer is indispensable to the success of this production. The set includes the iconic gates of Paramount studios, a fully equipped studio interior, including Paramount logos on frosted glass panels. The use of gigantic lace scrims for movement and scene transitions adds a visually stunning aspect to the performance. Every set and prop has been carefully planned, designed and crafted with precision. A standout moment was the grand reveal of Norma’s lavish mansion that drew gasps from the audience! Influenced by the Spanish Gothic Revival mansions of 1920s Los Angeles, it is complete with sweeping arches, a winding staircase, ornate balustrade, pipe organ, and luxurious furnishings. The mansion not only serves as a backdrop but also plays a pivotal role in enriching the narrative with its opulence. The movement of the entire set upstage and downstage akin to a camera zooming in and out, creates a breathtaking cinematic experience unlike anything I've seen before!

The costumes have the wow factor! They are meticulously detailed, appropriate for the era, with a touch of contemporary flair. Each time Miss Brightman makes an entrance she is wearing another stylish and extravagant gown, much to the audience’s delight! It's a nice change to see Norma's character with a long and flowing hairstyle (rather than being covered by a turban, as in other productions), adding grace, elegance and allure to her character.
Choreographer Ashley Wallen's (The Greatest Showman, Cinderella) attention to detail is evident throughout. During song, dance, or dialogue, it is evident that each movement has been carefully planned and executed, showcasing a blend of fresh, lively, dramatic, and comedic elements. The collective performances of ‘Let’s Do Lunch’, ‘The Lady’s Paying’, 'This Time Next Year' and ‘A Little Suffering’ are exuberant, featuring whimsical choreography with a modern twist, injecting a little fun into the production. The romantic scenes, 'The Perfect Year' and 'Too Much in Love to Care', featured graceful dances that evoked pure joy and moved me (and many others, I'm sure) to tears.

With hundreds of productions to their credit worldwide, Lighting Designer Mark Henderson (Chitty Chitty Bang Bang, The Iceman Cometh) along with Projection Designer George Reeve (The Lord Of The Rings, Tarzan) elevate the show with a level of vitality, dimension, vibrancy, grandeur, and elegance that is unparalleled. Henderson has the monumental task of recreating such iconic moments such as the thrilling car chase, Norma’s captivating presence in the glow of the movie projector during ‘New Ways To Dream’, the dramatic spotlighting of her by Paramount Studio lights in ‘As If We Never Said Goodbye’, the electrifying lightning storm sequence and the riveting 'I'm ready for my close up' finale. Reeve's projections include a backdrop of the Hollywood sign overlooking the Santa Monica Mountains, drawings and animations depicting the car chase between Joe and the debt collectors, the interior of Paramount Studios’ Stage 18, Norma's luxurious Isotta Frashini car driving to Paramount, rain, clouds, palm trees and a swimming pool projected onto the front of the stage.

Sound Designer David Greasley (Cats, Les Misérables) has created a multi-dimensional experience that is second to none! The sound effects, such as the roaring of cars, the chatter of Paramount studio actors, the pouring rain, and a booming thunderstorm, envelop the audience, creating a sense of complete immersion in the narrative. The balance of the dialogue, vocals, orchestra and sound effects is impeccable.
The Melbourne orchestra under the capable baton of Musical Director Paul Christ (Miss Saigon, The Producers) sounds sublime. This challenging score, with its sweeping orchestrations, jazz, big band and Latin infused numbers has a much bigger sound than you'd expect from a relatively small orchestra. Great work all!

The big drawcard to this production is, of course, internationally renowned singer Sarah Brightman (Song & Dance, The Phantom Of The Opera). This is her first musical theatre role since Andrew Lloyd Webber's Aspects Of Love almost 30 years ago. Miss Brightman has 'returned - at last!'. Sharing the role of Norma Desmond is Australian theatre royalty Silvie Paladino at certain performances. Norma's character is tragic yet captivating, as she embodies the struggles of an aging actress in an industry that values youth and novelty above all else. The audience erupted in thunderous applause and cheers as Miss Brightman made her grand entrance - an unforgettable moment of awe and excitement. I first encountered Sarah Brightman, in the mid ‘80s, performing the lead role in a televised version of Andrew Lloyd Webber’s Song & Dance. Relatively unfamiliar with her work (except for her role in the original production of Cats), I found myself captivated by her unique voice and stage presence, and became an instant fan. Shortly thereafter, Sarah's portrayal of Christine in The Phantom of the Opera catapulted her to an unprecedented level of brilliance and global acclaim. While I had never envisioned Miss Brightman in the role of Norma Desmond before, her remarkable performance in this character has left me utterly amazed by the astute casting decision. I am impressed by Sarah's Mid-Atlantic accent for the role, considering she is English through and through. Over the years, Brightman has showcased her remarkable versatility as a performer through her seamless transitions between various vocal styles. Her ethereal and profoundly expressive operatic voice is, in my opinion, a perfect fit for the character of Norma, who embodies the essence of a tragic grand opera figure. Sarah's renditions of the iconic numbers 'With One Look' and 'As If We Never Said Goodbye' received a rapturous reception. Her ability to seamlessly transition between dark dramatic scenes and slightly crazed, eccentric comedic moments keeps the audience engrossed and eagerly anticipating each time she enters the room.  

An equally captivating portrayal is delivered by Tim Draxl (Into The Woods, Jagged Little Pill) in the role of Joe Gillis. With a wealth of experience spanning two decades across stage and screen, Draxl seamlessly embodies the character of Joe Gillis, the struggling scriptwriter. His performance not only highlights his exceptional tenor vocals and remarkable acting prowess but he also exudes charisma, especially following his transition from a destitute writer to Norma’s paid companion. The dynamic between Norma Desmond and Betty Schaefer is palpable, further enhancing Draxl’s on-stage presence. His rendition of ‘Sunset Boulevard’ emerges as a standout moment, drawing the most deafening applause of the entire evening. This huge role sees Draxl commanding the stage for a significant portion of the performance, with only brief interludes during Act Two.

With over 45 years in the entertainment business, Australian theatre, film and television star Robert Grubb (Mary Poppins, Charlie & The Chocolate Factory) is Max Von Mayerling, Norma's obedient servant, and first husband. His rendition of 'Greatest Star of All' was a highlight of Act One with his silky, luxurious, and full tenor voice. His understated portrayal of the tragic character consumed by his dedication to Norma and compassion for Joe, who is ensnared in her schemes, is authentic, unaffected, and precise.

Ashleigh Rubenach (Groundhog Day, Muriel's Wedding) plays Betty Schaefer, the sweet, optimistic, and somewhat ambitous Paramount script reader who over the course of a year or so falls out of love with her fiance Artie, and madly in love with Joe. Rubenach's honeyed vocals and natural (and often comedic) portrayal of Betty make her enthralling to watch. The performance of ‘Too Much in Love to Care’ by her and Draxl was one of the highlights of Act Two. Their voices blended beautifully and the unexpected dance interlude (with a seeming nod to Rodgers & Hammerstein) was both enchanting and exhilarating to watch.

Other notable cast members include: Jarrod Draper (Moulin Rouge!, Sondheim on Sondheim), the first indigenous graduate from WAAPA as Artie Green and others. Paul Hanlon (Elvis, Les Miserables) as Cecil B. DeMille and others. Troy Sussman (Candide, Driftwood) as Sheldrake and others. These three seasoned actors delivered exceptional performances in their respective roles and captivated the audience in their brief yet significant appearances.

The ensemble is one of the strongest I've ever seen. Their energetic and enthusiastic performance of 'Let's Do Lunch', 'Schwab's Drugstore', 'This Time Next Year' and 'Auld Lang Syne' were nothing short of perfection! 'The Lady's Paying' (male ensemble) and 'A Little Suffering' (female ensemble) each shone on stage with their sharp, precision choreography and remarkable distinctiveness. You are all stars in your own right!
'This time (Sunset Boulevard) is bigger and brighter than we knew it!'

With its remarkable staging, captivating musical score, impeccable casting, and the opportunity to see Sarah Brightman 'close up' - it's a must-see performance!

Jonathan Cox

Photography: Daniel Boud