As Andrew Lloyd Webber’s iconic overture floods the St. James Theatre, an industrial chain curtain rises, but behind it lies no Hollywood palazzo.
Instead, Olivier Award winner Jamie Lloyd’s production of “Sunset Boulevard” finds success in abstraction, focussing on text over tangibility. In contrast to the sweeping, orchestral melody, audiences get a glimpse of a vast, dark emptiness. In place of a set, billowing clouds of haze are illuminated by Jack Knowles’ stark, white lighting design. Even the show’s branding has adopted this new aesthetic, stylized as “Sunset Blvd.”
The musical’s plot remains unchanged. Joe Gillis (Tom Francis), a struggling Hollywood writer, has a chance encounter with Norma Desmond (Nicole Scherzinger), a silent film actress who has fallen out of the public eye. She has written a picture for her grand return, which Joe finds to be unreadable. Norma’s butler, Max Von Mayerling (David Thaxton), essentially imprisons Joe in Norma’s mansion to edit the script. In his limited ventures outside, Joe collaborates with a young writer named Betty Schaefer (Grace Hodgett Young). Oblivious to Joe’s living situation, the two begin to fall for each other, placing strain on Joe’s now convoluted relationship with Norma. In a dramatic finale befitting of a Hollywood blockbuster, Joe is caught between two unforgiving worlds.
Leading the production, Scherzinger soars as Norma Desmond. Her performance fills one of Broadway’s largest theaters as she belts to the rafters, while perfectly fitting into frame on camera.
Recontextualized by Lloyd’s fresh, raw vision, the final scene is a gripping display of desperation and delusion, leaving behind a trail of blood and broken dreams.
In this modernized yet timeless revival, a mammoth LED screen looms over the characters onstage. With cleverly choreographed camerawork, the screen utilizes live video feeds, displaying the worst of Hollywood in remarkable high definition. As cameras capture the actors from only inches away, the audience gains a uniquely intimate view through the lens of a filmmaker, palpable even inside a 1,700 seat theater. Suddenly, from the orchestra to the distant balcony, everyone is close to the action. A musical about movies, inviting the audience to view the story on screen adds depth to an already rich script.
Leading the production, Scherzinger soars as Norma Desmond. Her performance fills one of Broadway’s largest theaters as she belts to the rafters, while perfectly fitting into frame on camera. It is complex artistry but Scherzinger manages flawlessly with the expertise of a seasoned performer. She is able to explore Norma’s humanity, while also embodying her animalistic desperation. A particular highlight is her performance of “With One Look,” in which she relishes her glory days and vows to make a comeback, or rather, a return (she hates the term “comeback”).
Throughout the show, Scherzinger dedicates herself to the character completely, regularly throwing herself around the stage with feverish choreography and nailing remarkable high notes in between. Amidst a crowded theater season this performance exemplifies true star power.
At her side, Francis excels as Joe Gillis. Directed with Lloyd’s signature dissociation, Francis believably exhibits Hollywood burnout and disgust. Notably, in the spectacular titular number, “Sunset Boulevard,” he personifies abandoning one’s integrity for survival.
Francis coldly grapples with the harsh realities of Hollywood as he shockingly exits the theater and crosses 44th street, all captured by Lloyd’s live camerawork. As he passes posters and marquees of commercial blockbusters such as “Aladdin” and “Hell’s Kitchen,” lyrics about selling out gain an entirely new meaning.
The ensemble illustrates this bitter version of Hollywood entirely, both looking and sounding flawless while executing Fabian Aloise’s elaborate modern choreography.
Upon returning to the theater for his final note, Francis is rightfully greeted with uproarious applause for his transcendent performance. While videos of this moment have circulated quickly online, they do not do it justice. It is an all-time theatrical stunner that must be seen in person.
Stars aside, the supporting cast also bring their best, each delivering career-defining performances. Thaxton is imposing and unnerving as Max Von Mayerling. His booming voice carries with it humanity and care for the once great Norma Desmond. Young breathes new life into Betty Schaefer, bringing a unique sense of optimism and hope into a production defined by darkness.
The ensemble illustrates this bitter version of Hollywood entirely, both looking and sounding flawless while executing Fabian Aloise’s elaborate modern choreography. It is a remarkable noir spectacle with great attention to detail, evident in all artistic contributions.
While gripping, this production is not universally successful. Humorous physical references have no place on Lloyd’s barren stage. One line referencing the outrageous length of Norma’s script completely falls flat without a script to be seen.
However, the overwhelming majority of Lloyd’s decisions produce a must-see thriller, refreshing a classic before it ever seemed stale. In the show’s own words, “Sunset Blvd” has once again taught the world new ways to dream.