Sunset Boulevard

Pendle Hippodrome Theatre kindly invited me to review their latest production ‘Sunset Boulevard.’ Written by Don Black and Christopher Hampton, with music by Andrew Lloyd Webber, (based on the Billy Wilder film -1950); this is the sad and haunting story of a washed-up silent film star desperate to relive her glory days.

A down on his luck screenwriter, Joe Gillis, whilst fleeing from his creditors, hides out in an old mansion, only to discover that the house belongs to, long ago forgotten, silent movie star, Norma Desmond. He agrees to move into the mansion, on the pretext of helping Norma develop a script she has written for her comeback. Norma falls in love with Joe, but Joe has fallen for fledgling scriptwriter Betty Schaefer. Norma reacts in a jealous rage before finally losing her tenuous grip on reality.

The story began with a dead body floating in a pool, the main protagonist, Joe, is telling his story in retrospect. I particularly liked the projected film playing stage right, whilst the character of Joe stood narrating the events. The show grabbed the audience's attention from the onset and kept them riveted throughout. Director, Damian Marsh, created a slick production, with standout performances, lavish sets, and fantastic musical numbers. The use of projections throughout the show, especially the car chase, the actor playing Joe, superimposed into the driving seat, was a clever way to cover the big scene change; the audience attention was on the projection whilst the crew deftly moved the set. The mansion set was lavish and decadent, a large curving staircase to the left of the sitting room, represented Norma Desmond’s mansion, with a chaise lounge placed centrally and used often, and an organ situated rear stage left, for Max to play when needed. We saw an office area placed far front for Joe and Betty, a New Year’s Eve party in a crowded apartment and a film studio set. The sets were many but moved in and out without distracting from the action. Lighting by Adam Horsfield was impressive, spotlights were precise, gels added atmosphere. I thought the pinpoint lighting on Max during his solo was beautiful, creating an insular feel, adding to the gravitas of the lyrics of the song. Sound, provided by Marcus Whitaker was fabulous, no feedback, no errant microphones left open. Sound effects were prompt, a ringing telephone, police sirens, all timed perfectly. The blend of music to vocals was just lovely. Musical Director Lisa Manley and her orchestra were superb. The time and effort, Lisa and her accompanist Robert Rainford had dedicated to their cast, was evident.  Harmonies were close and melodic, solos were powerful. The orchestra sounded wonderful, complimenting rather than overpowering the musical numbers. There were some complex songs throughout the show, ‘Let’s Have Lunch’ with its layered vocals was punchy and quick, the choreography by Fiona Thompson, especially in the reprise, was snappy, the actors crossing around the stage as they sang. The stage was full and bright, as the musical number progressed. ‘This Time Next Year,’ was another great chorus number, as the ensemble made their mark with animated enthusiasm. The male chorus members gave an entertaining performance of ‘The Lady’s Paying.’ They moved around the stage with grace as they dressed and measured Joe for new clothes, a wonderful bit of choreography. Costumes looked bright, in keeping with the era, courtesy of Pauline Pilkington and her wardrobe team, with the Salesmen and all of Norma Desmond’s stunning costumes provided by Charades Costumes. This was combined society effort, everyone working together to produce a show that had the audience stand in ovation as the curtain fell.

Playing the role of Joe Gillis was Josh Hindle. Josh was fantastic in this role, he was on the stage for most of the show, his recall was incredible. He was mean and moody with a dry wit and well-timed comebacks. His performance had light and shade; he made no apologies for his behaviour and showed different sides of himself to the women in his life. His repugnance for Norma was often clear in his facial expressions, yet his greed and hunger kept him in her presence, with Betty he showed a softer, almost gentle side as he gradually fell in love. The nice guy act did not last long as he broke the hearts of both women and sealed his own doom. Josh was a fabulous singer; strong and confident he belted out some fantastic notes. The audience were indeed impressed with his performance and kudos to all the team who filmed the chase scene prior to show night. An exceptional performance from Josh.

Jessica Sanderson took on the iconic role of Norma Desmond. She looked resplendent as she appeared at the top of the sweeping staircase, her costume shone as she descended onto the stage. Jessica had all the mannerisms and facial expressions one would associate with Gloria Swanson, the original Norma Desmond, without being over theatrical. Her animated arm movements, large eyes, and expressive features, synonymous with the silent movie era were natural rather than exaggerated. Her accent was perfect, her delivery excellent, showing a wide range of emotions as the show progressed. I enjoyed the final scene in Act One where Norma and Joe kissed on the chaise lounge, her hand dramatically lowering onto Joe’s neck as the curtain fell, the timing was impeccable. When Jessica sang ‘With One Look,’ you could hear a collective intake of breath from the audience, it was phenomenal. I must admit to goosebumps during ‘As If We Never Said Goodbye,’ it was emotive and raw, the ensemble remained static as she sang, giving her the limelight she deserved. Jessica gave a polished performance, as she spiralled into madness, and the audience erupted into applause as she said the final line ‘Alright, Mr DeMille, I’m ready for my close-up.’

Playing the role of the butler, Max Von Mayerling, was Richard Sanderson. I thoroughly enjoyed his characterisation. Extremely loyal to Norma, due to being one of her former husbands. He went to extreme lengths to stop Norma from finding out the truth about her waning stardom. Protecting her from her own fragile state of mind, perpetuating her fantasies. His solo, ‘The Greatest Star of All’ was poignant and moving. Richard had a strong singing voice, hitting some beautiful sounding notes. His mannerisms deliberately formal, his posture upright, there was an unflinching integrity to his performance.

In complete contrast to the aging star, Norma, Betty Schaefer, played by Catherine Cox was young, optimistic, and passionate about becoming a writer. Her boundless enthusiasm enthralled Joe. As they worked together in secret, they became closer eventually falling in love. The duet ‘Too Much in Love to Care,’ highlighted Catherine’s soprano range, the harmonies produced by Catherine and Josh were just lovely. Catherine was notable in the role, displaying a wide range of emotions and oozing effervescence. A straight talking, confident characterisation from Catherine.

David Smith played Artie Green, fiancé of Betty, friend of Joe. David had many solo parts within songs, his singing voice was clear and concise, his character jovial and kind-hearted. David was enthusiastic throughout, a great interpretation of his character. Stevan Manley was comical as the obsequious Manfred, the tailor assigned by Norma, to create a new wardrobe for Joe. His number, ‘The Lady’s Paying,’ was great. Doing his best to get ever more money from the sale, he was pushy and oily at the same time. I thought Stevan was jolly funny in this role, with strong vocals. Jason Morris played Hollywood Producer Sheldrake. Sheldrake is on friendly terms with Joe but refuses financial help when things get tough. Jason was notable in this role, his dialogue was clear with great timing, his vocals within group numbers strong. Edward Munday played movie mogul Cecil B. DeMille, gently letting the aging actress down, unable to destroy her dream of a comeback. His reprise of ‘Surrender’ was simply lovely.

There were many wonderful moments within this show, with a great deal of the ensemble singing small solos and having dialogue. Unfortunately, I cannot name every individual on stage in the production. Your performances are always appreciated, as are the many backstage members and front of house staff that go towards the production of a show. This was a production that the society should be immensely proud of, the audience reactions and ovation speak volumes. Thank you, Pendle Hippodrome Theatre, for inviting me and my plus one to your production. We look forward to your next production.

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