Sunset Boulevard

Sunset Boulevard

Music by Andrew Lloyd Webber

Book and Lyrics by Don Black and Christopher Hampton

Performed by Exmouth Musical Theatre Company at Exmouth Pavilion on Friday 6th June

Directed and choreographed by Rob Guy

Musical Director - Angela Blackwell

 

As the stunning sound of the nine-piece orchestra strikes up the overture of this iconic musical, the gauze, lit with purples, pinks and blue gobos, was lifted slowly to reveal a gorgeous cantilever staircase, centre stage, dimly lit with blue and green downlights. Flashes of light with static actors portray the press cameras as a body is removed with reverence accompanied by the beautiful score.

This was an exceptional piece of musical theatre from its beginning to the madness of its ending and I only hope my report does the production justice.

A cleverly designed set partially hired and partially built and designed by the company, with projection on stage left of the cyclorama (and staircase) used to great effect throughout, greeted the audience.  Two raised terraces either side of the proscenium were created and set with an office desk, typewriter and swivel chair (stage right) and fireside chair (stage left). The stage was extended around the orchestra pit and into the audience allowing the audience to view the actors closely. A magnificent projected stunning black and white picture of the younger Norma, which resembled the actor who played Norma Desmond, was displayed in the mansion scenes with similar framed photographs placed throughout the auditorium. Projected moving ‘silver screen’ films of a car chase edited with the actor’s face, the lot of Paramount Pictures, Schwab’s Drugstore and Stage 18 all represented the changes of scenes and drew the audience further into the story.  As did the lighting design of which I will mention later.

Brad Curran as Joe Gillis, entered the stage and with a gorgeous tenor voice and superb tonal quality began the prologue. This was a confident actor with tremendous stage presence, whose acting was utterly natural and believable. A complex character with differing emotions which showed in subtle facial expressions and nuances such as when Norma first touches his shoulders, he showed his uncomfortableness. His palpable anger with Max when having his belongings moved to the mansion without his permission. This was perfect casting. As was Natasha Fardell, who played Betty Schaefer, Artie’s fiancé, whom he falls in love with whilst co-writing Blind Windows with her. This actor’s gorgeous soprano voice soared over those top notes and their duet ‘Too Much in Love to Care’ was simply beautiful both to watch and listen to. 

Max Von Mayerling is Norma’s first husband, her former film director and now her butler. Played with such concern and empathy for his now employer, Lance Vernon as Max, acted the role with a wonderful stillness and control. His exquisite base/baritone voice justifiably produced a tumultuous audience reaction when he sang ‘The Greatest Star of All’.

She was certainly that in this production. Debra Butler as Norma Desmond, was magnificent in this role. With a powerful voice and admirable acting skill, she commanded the stage. Her ability to change from a normal façade to the edge of madness was expertly portrayed especially, having shot Joe, she breaks down completely. The tenderness as she sang ‘Surrender’ and the tenacity of ‘With One Look’, which nearly brought the audience to their feet in the first act, was compelling.  This continued into Act Two with the ultimate ‘As If We Never Said Goodbye’ which was tremulous as Norma sits on a studio chair excited yet nervous to be back. Hawkeye, having recognised the famous Miss Desmond, lights her.  The song builds to a crescendo as the audience erupted into cheers. What a role and what a performance.

Sunset Boulevard is almost a sing-through musical but with touches of dialogue as the story is told through the songs. Annunciation and vocal ability for each and every cast member on stage is imperative or the story can be lost. Therefore, I must mention the ensemble and supporting cast members at this point as each and every one were exceptional. All of the ensemble numbers had pizzazz, such as ‘Let’s Have Lunch’ with the complicated movement of those on stage, ‘This Time Next Year’ and ‘A Little Suffering’ with lovely solos from individuals cast members. The comedy as Manfred and his staff try to ‘dress’ Joe in ‘The Lady’s Paying’ was expertly handled and led by Daniel Bettison. Arty Shaw played by Matthew Blood Smyth was natural and authentic as Betty’s beloved and Craig Butler as Sheldrake is the witty and sarcastic producer unable to help Joe.

My congratulations to Molly Emmerson and Robert Guy who produced incredible costumes not only for Miss Desmond but the entire cast. Norma entered wearing a stunning black and gold kaftan and long jacket and had numerous changes, each one different. A classic gold pleated dress and a gorgeous diamante embellished black evening dress. Gold satin pyjamas and sparkling Lamah gold housecoat and a striking black coast with fur trim and black turban emblazoned with crystals was elegant.  Care was taken to ensure all costumes looked authentically 1950’s, such as the tea dresses and pencil skirts for the ladies, double breasted suits for the men, Betty’s delicate blouse and jumpers and baggy white pants, the waiters in red bow ties and red and white hats and a waitress in a red and white striped 50’s dress with small apron.  The temple ladies in purple two pieces and the roman soldier in full centurion costume with roman ladies draped in togas all added to the credibility of the piece.

Clever direction, movement, design and choreography by Rob Guy created a real sense of 1950’s Hollywood. Mike Hamilton as Cecille B De Mille tenderly sings ‘Surrender’ as filming of a roman officer and woman is gently acted upstage left, dimly lit but effective. ‘Every Movies a Circus’ set in Schwab’s Drugstore has the impeccably dressed waitress and waiters whisking around the tables alongside the ensemble harmonies and movement giving the right sense of business on stage. The cast then remove the stage props throughout the number as the scene changes.  I also loved the use of a split stage in certain scenes such as the New Years Eve party happening on the left of stage as Norma, dimly lit, drowns her sorrows on her sofa.

The lighting design produced by Dominic Jeffrey made this happen with superb use of colours and projection.  The gorgeous orange, peach, yellows and white downlights of the mansion garden with a swimming pool projected and huge pots filled with foliage, along with a period wooden sun lounger were fabulous. Norma during ‘With One Look’ is spotted and lit with four downlights of red, pink and blue and the two spotlights on Betty and Joe as they duet were well handled by those operating them.  Seventh Wave Audio controlled the levels of the personal microphones and the orchestra and did a sterling job. The levels were perfect and this was imperative due to the nature and story telling of the show especially when dialogue was underscored. Superb lighting and sound.

The orchestra under the baton of Angela Blackwell just gave me goosebumps as I listened to the score serenading the audience. With only nine members the sound they produced complimented and enhanced this heartbreaking and beautiful musical as it accompanied those on stage. Her hard work in rehearsals with the cast certainly paid off with wonderful harmonies and stunning solo work.

I have and will continue to praise the quality of this production which should be awarded every accolade. As I was leaving the auditorium I was approached by many members of the audience expressing how wonderful the performance was but one in particular, who has a great deal of experience in musical theatre (I won’t mention her name), simply said “That was the best amateur musical theatre production I think I have ever seen”!  I emphatically concur.

Congratulations to you all.

Lyn Burgoyne Noda representative District 5 (Mid and East Devon)

 

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