Sunset Boulevard

‘Sunset Boulevard’ is a musical based on the original 1950 Billy Wilder film noir about a faded, forgotten silent movie star Norma Desmond and her relationship with a young screen writer Joe Gillis as she entices him into her fantasy world.  It features some of Lloyd Webber’s most acerbic lyrics loaded with caustic sarcasm and cynicism regarding the capriciousness of Hollywood.

The audience are treated to a film reel (created and edited by Christian Norton) featuring close-ups of a beautiful young woman in various silent movie roles.  We then see a body bag and a host of police and reporters - a crime has been committed but who’s in the body bag?  Our answer is explained by the victim himself as our resurrected murder victim smashes the fourth wall to directly address the audience providing us with a flashback from six months ago and the build up to this tragic event.  This is Joe Gillis the ‘stiff ‘in the bag and he comically removes his ‘gunshot wound’ and steps into the story which is delivered in a musical narration style.  

The ensemble illustrates the fast-moving pace of a Hollywood studio and the false promises and insincerity that pervades it ‘Let’s have Lunch.’ as the people behind and in front of the cameras – secretaries, script writers, dancers, choreographers and directors - intermingle gossiping and vying for attention.  I particularly liked the way they all showed their preoccupation with busyness as they moved purposefully across the stage demonstrating the ‘early morning madness’ that Norma misses so much. We also meet Betty Schaefer (Tegan Rowe) a sparky young script writer battling in a business steeped in misogyny who accidentally criticises one of Joe’s screenplays.  She redeems herself by helping him to escape from some finance men wanting to repossess his car.

Desperate to evade the pursuing finance men, Joe inadvertently stumbles on a dilapidated mansion on Sunset Boulevard, the property of one-time silent movie starlet, Norma Desmond and stirs her from her cocoon of isolation - but is it a sleeping beauty that lies within or a beast? 

When we first see Norma (Nicola Calver) she is shrouded entirely in a long, black, voluminous gown her eyes shielded by dark glasses.  Her whole house is like a mausoleum surrounded by relics of her past glories including two huge portraits of her in her younger days.  

As Norma sardonically comments when Joe says she ‘used to be big’ she replies, ‘I am big. It’s the pictures that got small.’  Here is the essence of Norma; bitter at being side-lined for younger actresses and the advent of talking movies she cannot get over the fact this ‘new’ Hollywood has rejected her. Her song ‘With One Look’ is Norma’s scathing account of her talent as a silent movie star bitterly observing that Hollywood and the ‘talkies’ are a poor substitute.

Norma is attended to by her faithful manservant Max (played by Simon Nicholson) who has a dark secret of his own.  He has been sending fan mail to Norma in a desperate attempt to keep her dream of stardom alive.  She fervently believes that she still has her adoring fans who she calls ‘her people in the dark’ and feels she owes them a return not a come-back.  Simon was excellent as the long-suffering Max fervently attached to his ‘madame’ as he recognises her fragility and rapidly declining mental state while keeping her fantasy alive.  I particularly liked his rendition of the heart-felt ode to Norma ‘The Greatest Star of All’ delivered in a poignant but nostalgic tone as he tells Joe how once Norma was desired and adored.

Norma has a screenplay ‘Salome’ that she wants to pitch to Hollywood with herself playing the sixteen-year-old lead and she employs Joe as her editor.  Their relationship soon becomes more sexually charged and Norma becomes increasingly controlling trapping him in the house while buying his attention with a whole new wardrobe and flashy trinkets.  Again, the ensemble act as back-drop for Joe’s increasing frustrations forcing him into evening wear telling him the lady is paying so ‘gracefully accept the role you’re playing’ Joe bitterly realises she has bought him as much as all his new gifts but reluctantly capitulates to his situation as leading man in her bizarre movie.

The highly superstitious Norma insists that the famous director Cecil B De Mille will take on her terrible script, so Max takes it to him.  In the meantime, Betty and Joe are having secret meetings working on another script of their own pooling their talents and she invites him to the studio’s New Years Eve Party.

Norma holds a New Year Celebration but where are the guests?  Norma has tricked Joe; she slaps him, and he storms out trading the cloying atmosphere on Sunset Boulevard for the bright raucousness of the studio party and Norma’s polar opposite, Betty.  Norma is distraught and Max informs Joe that she has tried to commit suicide with one of his razors.  Joe returns and like a spider trapping a fly he has become beholden to her narcissistic, needy ways.

A trip to the Paramount studios shows Norma chiding the security guards who don’t’ remember her and flirting with the director Cecil B De Mille (Andrew Wydrzynski).  She shows in her internal monologue her nervousness and how much she has missed the ‘magic in the making.’  Another iconic song ‘As If We Never Said Goodbye’ delivered with sensitivity by Nicola as her delusions come more to the surface making one wonder what would happen when reality finally intrudes on fantasy. 

Nicola Calver as Norma Desmond was magnificent and perfectly captured the personality of the egocentric recluse clinging to Joe like a drowning man to a raft.  Her song ‘With one Look’ was beautifully delivered with Nicola acting with her whole body from her arched eyebrows to her slender polished nails a real highlight of the show which she brought to life delivered in a dreamy nostalgic tone.  She dominated every scene she was in as Norma’s larger than life personality tipped further into insanity.  The scene where she finally becomes totally unhinged, divorced from her actions believing she is on a studio set playing Salome, her make up smudged her dress tattered was truly heart-breaking.

Christian Norton played the sardonic Gillis with a mixture of charm and sarcasm.  Christian was excellent as Joe Gillis the no-hoper buffered by fate. I especially loved the contrast of the interplay between Norma and Joe and Joe and Betty.  Christian’s body language was visceral as he flinched and recoiled at Norma’s advances compared with his leaning forward and smiling at Betty as the two fell deeper in love.  Throughout, he effortlessly stitches the events of the story together occasionally chipping in to give an internal monologue of his own true feelings and his desperation to make it big in Hollywood with one of his screenplays. Christian has excellent vocals which were needed in this very song heavy role a definite contrast to his role as Buddy the Elf!

Simon Nicholson as Max was a lovely portrayal of a man who once loved Norma and brought her fame but now happy to stand in the shadows and serve her.  Harry Lawrence as Arte Green, Betty’s fiancé and Joe’s friend played his part well.  Jonti Oakley had great fun as the flamboyant Mr Manfred dressing Joe in his new attire and affirming his role as Norma’s gigolo. I also liked Sharon Sycamore-Batty as the scatty astrologer. The ensemble provided very strong harmonies and vocals which gave the whole score added depth.

The set was a two-level one room set that was split into parts using boards that were ‘flown’ into position from above to hide parts of the set when not in use.  Norma’s house was a chaise longue with period details reflecting her faded once opulent lifestyle.  The whole effect was like watching an old cine movie, with a monochrome colour palette that influenced both the décor and costumes. 

Norma’s wardrobe changed and developed as her confidence grew and she practically glowed in a 1920s style gold and black shimmering dress that brought gasps from the audience.  She wore white furs and jewellery as befitting a movie icon although, compared to the other ladies of the chorus, her outfits were dated reflecting her being trapped in the past.   Well done Helen Symonds for creating a wardrobe that perfectly reflected Norma’s ever-changing moods and mental health.

Lighting was very moody, and I have to say, very dark largely relying on muted pink spotlights which resulted in some of the principals being left in shadow.  This was obviously a problem as from the front circle some of the incredible facial expressions were lost in insufficient light.

The twenty-piece orchestra (led by David Williams) included flutes, violins, trumpets and three keyboards, and was very good telling the entire story with a constant, complex atmospheric score that never overpowered the performers.

The ensemble was very good slipping in and out of the narrative taking on multiple roles.  Special mention to Peter Merrick whose role as the arrogant Sheldrake was well performed and he had good vocals.  Another special mention to Tegan Rowe as Betty who was a delight every time she appeared, and her vocals were beautiful.  I really liked her ‘love/hate’ teasing relationship with Joe and her distress when she finally realised the truth.

Director Lyndon Warnsby has tackled a challenging show and once again brought his own unique interpretation to the story.  A classic noir murder mystery with a twist and a homage to a bygone era that highlights a prejudice of women judged by solely by their beauty and the toxicity of fame.

 

© NODA CIO. All rights reserved.