Sunset Boulevard

Many thanks once again for your warm welcome to watch your company perform Sunset Boulevard. This production with another first for me, of course I was aware of some of the songs connected with the show but had purposely not researched the show’s story. The programme gave an overview of the story which turned out to be a tragic tale of obsession and romance based on the life of the faded silent screen star, Norma Desmond, and her struggling life out of the limelight living in her crumbling mansion on Sunset Boulevard and her fantasy return to former glory.

As always you are extremely lucky to work with Andy Martin whose vision creates outstanding sets, with cleverly added detail, for your company to deliver great performances. The opening stage was set with the ‘Sunset Blvd’ logo projected on it, the steps were lit with strip lighting and the uprights to each stage flat were decorated with small photographic cine reel images of Norma Desmond in her glory days. Rectangular flats on wheels were used in different positions with various images projected on them to depict the studio, pharmacy, frontage of Norma’s house and her car and other elements were flown in to add detail. The car chase with the financemen were well depicted with sets of headlights aimed at the audience as they travelled around the stage.  Moving images were also used on the outside of the screens to demonstrate outdoor scenes adding depth and authenticity to changing images. But the most outstanding of all was the beautifully created interior of Norma’s house which was made on a large trolley which moved forward to inhabit the stage. The room was sumptuous from the curved staircase that she arrived dramatically into the room, the windows, French door to all the drapes, pictures and period features and even the leaves of the trees moving in the wind outside the windows. These items were well placed to display her previous movies and images of Norma in her former days. The props that were used were period, well sourced and well manoeuvred by the cast and added to the story. The flickering light when the film was being played was very effective. I was impressed with the seamless changing of scenes during the performance congratulations to the stage manager, backstage and cast.

Apart from one moment in the gents’ outfitters when it was difficult to distinguish some of the ensemble’s words the sound was excellent with all the words clearly heard and balanced with the live orchestra.  The lighting was first rate throughout providing lots of subtle changes as the moods of the production moved forward. 

The costumes were excellent and enhanced the production, they were of their time and added to the overall delivery. I would like to make special mention here to the costume department for the eleven realistic Hollywood costumes sourced for Norma. It appeared that every time she appeared on the stage her outfit had been changed. She looked every inch the star she had been in her heyday, I understand this was achieved seamlessly by her two dressers. Well done! It was also great to see time had been taken to ensure footwear, hair and make-up were period and added detail. 

With the live orchestra began playing under the expert direction of your Musical Director it was clear that this show was going to be superb. It was in many ways unlike the various of the modern musicals being mainly presented to the audience through song. This requires all those on stage to be able to use their skills to deliver Andrew Lloyd Webber’s challenging score with clear diction. The story needs to move forward and keep the emotion building through complex scenes. To achieve the standard presented to us I feel showed clear direction. The rehearsal process was obviously delivered with excellent skills enabling all those on stage to present a show of such a high standard.

The story revolves around the life of a struggling screenwriter, Joe Gillis, who is down on his luck and finds himself driving his car into the driveway of a faded mansion which belonged to the once famous silent movie star Norma Desmond and how she gradually uses her desperate need to hold onto him wholly. Your actor gave a truly, commanding performance from his opening solo to the denouement during ‘The Final Scene’. He was hardly off the stage and worked successfully through a gamut of emotions which had to be demonstrated with various other cast members also.  His own life was gradually eroded and even when we thought he would escape with Betty, Norma had the upper hand with tragic consequences. He gave a sterling performance throughout assuredly creating a believable character and taking us with him. Brilliantly done!

Another writer Joe found himself working with in the studio was Betty Schaefer. She initially dismissed his pitch for a story but spent time then persuading him that his previous ideas were worth developing during ‘Betty’s Pitch’. She pursued her ideas and their relationship developed even though she was engaged to his friend Artie. There was a definite chemistry between your two players with many sideways looks and touches. ‘Girl Meets Boy’ and ‘Too much in Love to Care’ were excellently sung with feeling.

The actor playing Max Von Meyerling, butler and first husband of Norma did so with measured discipline. Initially he appeared rather flat and one dimensional but how wrong I was. He created a powerful restrained portrayal of a man who’s only purpose in life, to the detriment of his own success, was to ensure Norma was constantly happy and fulfilled. His delivery of the difficult song ‘The Greatest Star of All’ was superb.

The Cecil B. Demille part was performed with discipline. The interaction with Norma was clearly measured although he didn’t dismiss her dreams and his delivery of the ‘If you could have seen
her at seventeen..’ was done with meaning.

Betty’s fiancé Artie was portrayed with purpose by your actor. He spoke and sang with clarity and his shout out as Hog-Eye was well received by Norma.

The player depicting the loud hard bitten Hollywood producer Sheldrake did so with presence. Her lines both spoken and sung during the ‘Paramount Conversations’ were well presented.

The young man playing Manfred/Wunderkind and John demonstrated good performance skills. He moved with purpose and sang ‘The Lady’s Paying’ will gusto.

The remaining thirteen members of the ensemble took on varying cameo roles throughout the performance which were clearly delivered with song and movement. They had all been well rehearsed and their stage experience brought life to a variety of characters.

Then we come to the leading lady, the iconic (still) star in her dreams who had scripted her acclaimed return to the silver screen. This role required a myriad of disciplines from great strength to weakness and demands many attributes from an actor. The ability to show vocally and through great stage presence and excellent body language the descent of the once great actress into ‘madness’. Vocally she was outstanding with clear diction, facial expressions and hand positioning that was so mimetic of the silent movie stars.  Her rendition of ‘With One Look’ and ‘As if We Never Said Goodbye’ were a privilege to have witnessed. She captured all the facets of the character the total belief in her return to stardom, the power she exerted over Joe and the full acceptance of Max’s loyalty. All of these skills she showed throughout the entire performance to an exceptional high degree culminating in the poise shown in the final scenes.   A true tour de force performance!                                                                                                                                                                                   

This production of Sunset Boulevard owes a great deal to the cleverly chosen cast but my utter praise must go to your director who obviously had a very clear, expert, sensitive vision and direction. He had carefully chosen a stellar cast but his excellent use of the space he had available to him on the stage added to the overall experience. He carefully added movement to enhance scenes and was able to build the tension successfully to ultimate end. It was a spectacular production which I feel should have the ‘amateur’ removed from the front cover of the programme!

I feel privileged to have witnessed such a performance and I’m so glad that this was my first viewing of the production. Many congratulations to all your team both on stage and behind the scenes.

Disclaimer 

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be affected by that knowledge. 

The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the performance.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre. 

 It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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