Review: Sunset Boulevard

Review of the Saturday, November 9, 2024 evening performance at the St. James Theatre in New York City. Starring Nicole Scherzinger, Tom Francis, David Thaxton, Sydney Jones and Diego Andres Rodriguez. Music by Andrew Lloyd Webber. Book and lyrics by Don Black and Christopher Hampton. Based on the film by Billy Wilder. Scenic and costume design by Soutra Gilmour. Lighting design by Jack Knowles. Sound design by Adam Fisher. Video design and cinematography by Nathan Amzi and Joe Ransom. Choreography by Fabian Aloise. Direction by Jamie Lloyd. 2 hours 35 minutes, including one intermission.

I've often said that if you are going to take a risk with a show, go all the way with it - no holding back. Well, Jamie Lloyd's revival of Andrew Lloyd Webber's Sunset Boulevard did that and then some. He took a lot of risks here, and left nothing untried. Did all of it work? No. But what did work was marvelous and reignited (or maybe just ignited) a fire in this nearly 30 year old piece.

How much you appreciate his efforts may depend on how much you already know about Sunset Boulevard, and how well and how fast you can pick up on the concept. Of course, truly excellent direction makes you think, but doesn't alienate you. So your mileage and patience may vary. Fortunately for me, I am very familiar with both the film and the musical, so I could fill in the blanks where things were missing and could visualize certain locales. Not so much for the people around me, who spent the intermission trying to figure out why Joe had to sit on the floor of Norma's mansion, or what the heck they were talking about re: Norma's script size? As for the concept, if you are used to the extravaganza of the original production, you might struggle to figure out what the hell is going on. 

Right out of the gate, my mind was racing to catch up with this runaway train. Why is everyone dressed like 2024 when the screen tells us it is 1949? (costume and scenic design by Soutra Gilmour) Why are there two Norma Desmonds? Why is there so much dancing, and why is it really not 40s style? (Busy, synchronized chaos and athletic moves by choreographer Fabian Aloise.) Well, soon enough, as I made peace with all of the anachronisms, dancing and misty (lots and lots of mist) darkness, I relaxed and let it wash over me. By the end, for better or for worse, right or wrong, I settled on the idea that we were watching Norma's memories and her descent into madness. She's created a world of movie studio trappings - but only she can see the details. Blank faces say (sing) the right lines with the right intonations, and float in and out of view as the need to see them suits her whims and the story she wants us to see; only the great Norma Desmond can show emotions. Of course, I may be completely wrong. 

To accomplish this, Lloyd and company (video and cinematography design by Nathan Amzi and Joe Ransom) use a variety of technical and cinematic tricks, including shadows, silhouettes (here Cecil B. DeMille is a giant one, who looms large, God-like over Norma, who all but genuflects before him; she looks pathetically small in his presence), and, as befitting a movie, there are extreme close ups and lots of movement. 

Slowly, though, as her story inches toward its tragic conclusion, the main characters in her life begin to show emotion on their close-up faces. Artie Green (the dashing Diego Andres Rodriguez, who delivers by far the most interesting version of the otherwise forgettable character I've seen) is seen crying when he realizes the betrayal of his fiance and of his best friend. Similarly, a heartbroken Betty Schaefer, in solitude, sheds a single dramatic tear before she makes her final exit. At this performance, the role was played by a star in the making, Sydney Jones; she is simply divine. Then there's Max, Norma's loyal manservant (David Thaxton, fierce, unrelenting, and gorgeously sung), who ends his time with her, not with a whimper, but with a stunning, anguished bang. In a great moment of melding concept with content, each character removes their microphone earpieces - they have been silenced in the movie of Norma's mind.

For me, the real star of this production is the thrilling take on Joe Gillis by Tom Francis, whose youth and charisma demands our attention in ways I've not seen this character played before. Despite obviously not feeling 100% - he was red-faced, out of breath and regularly clearing his throat - he gave a brilliantly sung, full bodied (literally and figuratively) performance. Even with its heavy handed self-mockery, ego stroking and product placement of the Jamie Lloyd Company, the infamous backstage montage during the entr'acte, Francis expertly walks the line between being tour guide and actor preparing to resume his character. Watching him bring the world of Sunset Blvd. outside the theater and then, back inside the theater, is both a cautionary tale and coup de theater. In all my times seeing this show, the title number has never received such a well-deserved ovation.

On paper, and in billing, Norma Desmond is the star of the show, and Nicole Scherzinger leaves everything on the stage. There are no crumbs left. Her Norma is  everything you've read about and more. A twisted and ever-changing mess of emotions and strange ticks only seem to endear her, even as she repulses. And though there are some really bizarre anachronisms in several of her line readings, this is an accomplished, fully fleshed out performance. It is certainly the most...athletic...descent into madness the role has seen. Does it work? Ultimately, yes, but not as solidly as I had hoped. For the record, her "As If We Never Said Goodbye" got a partial and relatively short standing ovation. And she held the note for maybe 12 seconds, not the much hyped 25 second version. Were we gypped? Not really. The screams of the audience drowned out about half of it and all of the rest of the lyrics. Let the woman sing, for fuck's sake! For once, an over the top, self-indulgent performance was warranted and delivered, and she did just that. I didn't agree with all of her choices, but it's a solid star turn.

Recent revelations about her political leanings, did, unfortunately, color my experience and feeling about Ms. Scherzinger. She has since apologized - to accept it or not is on each of us, and maybe she did make a stupid mistake. Still, I can't help but feel hurt and angry as a member of the community that has stood by her in the best and worst of her times. It is a stinging betrayal, really. Times are tough enough that finding this out is more salt on the wound. She does give a brilliant performance, though I can't help but wonder how her own Norma Desmond would have treated her. 

📸: M. Brenner