Sunset Boulevard

This ultimately tragic show with its theme of forgotten stardom and descent into madness of the leading player is a powerful and immensely moving story.  To stage it successfully, any society has to cast exceptional people as the main characters.   In this case there were several really mighty performances and it was a marvellous production.

Opening against a background of Andrew Lloyd Webber's stirring music it grabbed the audience's attention from the very first.    The plot revolves around a screenwriter Joe Gillis, down on his luck who finds himself  driving his car, which has a flat tyre, quite by chance into the palatial  home of a reclusive faded silent movie star, Norma Desmond.   With a keen eye for the main chance and a desperate need for money he inveigles  himself into Norma's life and affections.    Also living at Norma's house and acting as her butler, confidant and protector is the former silent movie producer Max von Mayerling.   He has had a life-long devotion to Norma and it transpires that he was also her first husband.

In most respects this was a professional show - there was little that was amateur in this stunning performance.   The dedicated and talented director Kevin Stuart had thoroughly understood the show and succeeded brilliantly in building the tension and ultimate tragedy of Norma shooting Joe dead and being arrested.   With a well drilled chorus with some wonderful comic cameo's he managed to display all the light and shade in the unfolding drama.     He was aided by a magnificent orchestra under the sure command of musical director Jamie Cordell and the innovative and dynamic choreography of Vanessa  Chambers.

There were too many wonderful songs for me to mention them all.   The music was, after all, quite magical but I will highlight the following With One Look, Salome, Greatest Star of All, New Ways to Dream, Sunset Boulevard, As if we Never said Goodbye, Too much in Love to Care and finally, the reprise of New Ways to Dream.   These among others were spine tingling songs sung by top-drawer singers.

Sarah Esser-Haswell as Norma gave a mesmeric and soul stirring performance.    She inhabited rather than acted the character.  And that magical voice ...... goose pimples abounded!    ESOSOC are indeed fortunate to have this paragon on board.

Jamie Thomas as Joe complemented Norma perfectly.    He was the epitome of the brash and immoral writer.   He sang and moved well and gave a top class performance.

Mike Lock as Max had a superb voice and thrilling astonishing range (more goose pimples).   His acting was equally impressive and his was a mighty performance.

Young Philippa Kennedy as Betty Schaefer, in love with Joe, gave an extraordinarilly mature portrayal.   She has a natural poise, grace and elegance and will surely go far.  She was another with a fine voice.

These players were superbly supported by a whole host of smaller roles.    Jon Ford as Joe's friend and Betty's lover, Artie Green was very believable.   So too was Roger Nelson as Sheldrake, the hard bitten, no nonsense, Hollywood producer.    Manfred, the Hollywood outfitter was amusingly played by Mark Nicholson.   His team of gentlemen outfitters measuring Joe for his new high class wardrobe were a highlight.    A mention for Ziggy Szafranski who took the inside leg measurement culminating in a subtle but noticeable toss of his head, which spoke volumes.    John Rapley as the Cecil B de Mille, having to receive politely, but ultimately reject Norma was the epitome of the gnarled old producer.    He had the requisite stature and world weariness for this important role.

The black and white movie era was well captured by projected videos of Norma and Joe in her vintage car being driven by Max.    This really gave authenticity to both the characters and those playing them.    Norma's car, which was wanted by another Hollywood producer though she herself was not, to her consternation, was prominently displayed centre stage and the film of Joe's car complete with flat tyre after a car chase pulling into Norma's residence was atmospherically screened.

Norma had eleven costumes which were so realistically Hollywood.   They made her look every inch the star she was.    Lois Hatt, aided by Sue Bracher and Angela Terribile should take a well earned bow.    Ladies, I salute you!     Make-up and hair, so vitally important in this of all shows, were both accurate and impressive given the eye for detail of Frances Street-Carter, Hannah Green and Sami Horton Owen.

Another huge success was the sound, which was perfectly clear and well modulated throughout by Stuart Vaughan and his team.    Lighting design and operation was by Will Perkins and was equally impressive.

The main set throughout was a stage size metal tower with steps down to stage level right and left.    The various smaller sets were changed unobtrusively.   I see from the programme that the set design and construction were "in-house".   Everything flowed beautifully as the emotion and road to the final tragedy and climax built and built.

The shooting of Joe in the back by a deranged Norma was extremely well done.    He slumped on the first shot and finally collapsed on stage after the second.    As Norma was then preparing to meet her supposed "admiring public", or rather to be arrested by the police, the emotion became too much to bear and I found a tear or two trickling down my face.    I was in good company as the audience stood and showed their acclaim.

The detailed programme with rehearsal pictures and comprehensive notes about how the musical was created was most interesting but lacked any mention of NODA and our aims and  crest which will prevent it being considered for our programme award.   This is a pity.

This production was, in theory, an amateur show.   Never has the word amateur been so misused.    My partner Sue and I were treated royally, in particular by joint President Fred Harrison, Sally Durrant and Chairman Chris Wait.   I want to thank them for their hospitality and warmth and for the privilege of reviewing this memorable production

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