Sunset Boulevard Revival Broadway Thread- Page 44

[chernjam]

Posted: 5/3/17 at 11:22pm

So a new wrinkle to add to the "Why didn't Sunset get any nominations for Tony's this year?"

I happened to just see on another thread that one of the new nominators is Edgar Dobie.  Talk about random factoids - trivia/memory... He was front and center involved when, during Sunset's first run on Broadway and Glenn Close was out for 2 week vacation and they inflated the Box office grosses to look like it had no effect that she was out.  

When Michael Riedel does a follow up on Tony's/Sunset - remember you read it here first.  Here's the story about the incident back in 1995 http://variety.com/1995/legit/news/sunset-b-o-not-even-close-99127933/

[Valentina3]

Posted: 5/3/17 at 11:23pm

Bettyboy72 said: "Was Glenn out last night or tonight? I friend told me she was sick? "

Is this for real? I'm seeing the show on Friday. :'(

 

[chernjam]

Posted: 5/3/17 at 11:28pm

Bettyboy72 said: "Was Glenn out last night or tonight? I friend told me she was sick? 

 

"

Sounds like fake news... I think there would've been an announcement from the shows twitter or elsewhere had that been the case

 

[jo]

Posted: 5/3/17 at 11:33pm

chernjam said: "


Love it

 

[Another Winter]

Posted: 5/4/17 at 12:07am

Bettyboy72 said: "Was Glenn out last night or tonight? I friend told me she was sick? "

I saw the show tonight and she was there and well!

[A Director]

Posted: 5/4/17 at 1:36am

cherjam -  Give it a rest!  Follow this link to the Tony Awards.

http://www.tonyawards.com/en_US/about/admin_comm.html  You will find a list of the Management Committee, the Administration Committee, the Alternatives for the committee, and the 2016-2017 Nominating Committee.  EDGAR DOBIE'S NAME DOES NOT APPEAR ON ANY OF THEM!  Sunset Boulevard did not receive enough votes in any category.  Understand?

On the other hand, do you think the Russians hacked the Tony Awards?

[chernjam]

Posted: 5/4/17 at 1:47am

A Director said: "cherjam -  Give it a rest!  Follow this link to the Tony Awards.

http://www.tonyawards.com/en_US/about/admin_comm.html  You will find a list of the Management Committee, the Administration Committee, the Alternatives for the committee, and the 2016-2017 Nominating Committee.  EDGAR DOBIE'S NAME DOES NOT APPEAR ON ANY OF THEM!  Sunset Boulevard did not receive enough votes in any category.  Understand?

On the other hand, do you think the Russians hacked the Tony Awards?

"

 

The 2016-17 Nominating Committee includes:

• Adrian Bailey – Actor
• Victoria Bailey – Executive Director, Theatre Development Fund
• Luis Castro – Media and Entertainment Executive/Producer*
• Hope Clarke – Choreographer
• Paul Cremo – Dramaturg/Director of Opera Commissioning Program, The Metropolitan Opera
• Patricia Cruz – Executive Director, Harlem Stage/Aaron Davis Hall, Inc.*
• Trip Cullman – Director
• Edgar Dobie – Executive Producer, Arena Stage – Washington, DC*
• Scott Elliott – Director/Artistic Director, The New Group**
• Harvey Evans – Actor
• Sean Patrick Flahaven – Writer/ Composer/Orchestrator/ Conductor/Producer
• Paul Gallo – Lighting Designer
• Jenny Gersten – Former Executive Director, Friends of the High Line
• Daniel Goldfarb – Playwright, Bookwriter
• Sam Gonzalez – Dir. of Operations, Pfizer Medical/Board of Trustees, Playwrights Horizons
• Adam Gwon – Composer/Lyricist
• Roy Harris – Production Stage Manager
• Peter Hedges – Writer*
• Jack Hofsiss – Theatre, Film, Television Director
• Mara Isaacs – Founder and Director, Octopus Theatricals, LLC*
• Lou Jacob – Director at the New School for Drama
• Anne Keefe – Associate Artist, Westport Country Playhouse*
• Tom Kitt – Composer, Lyricist, Bookwriter
• Fran Kumin – Consultant, Perf. Arts Organizations/Foundations/University Theatre Programs
• Michael John LaChiusa – Composer, Lyricist, Librettist*
• Kate Levin – Cultural Assets Management Principal, Bloomberg Associates
• Reynold Levy – Former President of Lincoln Center for the Performing Arts
• Patricia Marx – American Humorist and Writer, Former Television Writer
• Jim McLaughlin – Former Producer, CBS News/TV Feature and Documentary Producer
• Tony Meola – Sound Designer*
• Jessica Molaskey - Actor*
• Debra Monk - Actor
• Roger Morgan – Lighting Designer, Theatre Designer
• Laurence O’Keefe – Composer
• Katherine Oliver – Media and Technology Principal, Bloomberg Associates
• Christian Parker – Chair, Graduate Theatre Program, Columbia University
• Paige Price – Actor/1st Vice President of AEA/Executive Artistic Director, Theatre Aspen
• Ravi S. Rajan – Dean, School of the Arts – SUNY Purchase
• Paul Rudnick – Playwright, Novelist, Screenwriter, Essayist*
• Susan H. Schulman – Director/President, Stage Directors and Choreographers
• Mikki Shepard – Executive Producer, The Apollo Theatre*
• Warner Shook – Director
• Ellen Sorrin – Director, The George Balanchine Trust*
• Jessica Stone – Actor/ Director*
• Edward Strong – Producer
• Wynn Thomas – Production Designer
• Jose Antonio Vargas – Journalist/Filmmaker/Founder of Define American *
• Jennifer von Mayrhauser – Costume Designer
• Tom Watson – Retired Executive, Television Advertising
• Preston Whiteway – Executive Director, The Eugene O’Neill Theater Center
• Evan Yionoulis - Director*

*Denotes new Nominating Committee member

 

I accept your apology

[Javi]

Posted: 5/4/17 at 2:19am

I was at today's matinee and Glenn was there and sounding great!

[firescape]

Posted: 5/4/17 at 8:10am

Oh Snap! Lol! This is was totally awesome to wake up to.

[chernjam]

Posted: 5/4/17 at 11:12pm

DVR Alert - Glenn Close will be on Live with Kelly and Ryan Thursday, May 11
http://livekelly.com/guide/may-11-2017/

[Valentina3]

Posted: 5/6/17 at 12:16am

Okay so I saw the show tonight after months of reading reviews ranging from raves to negative ones. Honestly, I didn't care for it. The show is very poorly constructed to begin with, and the production and staging is not doing it any favors either.

Only Norma and Max's characters have been given any real depth. Glenn and Fred take what's been given to them, and elevate the heck out of it. Max's Joe clearly has great material handed to him on a plate, but it looks like he doesn't care to do the part the justice it deserves in his vain attempt of making the role his own. Sunset Boulevard title song is possibly the best song in the score, but it has been directed in a comical way which is just stupid. That is one scene which gives Joe's character a fool proof chance to show complexity and sophistication, but they use cheap tactics (Joe taking his underwear off, teasing his ass, Max taking the underwear away in a funny way) to make the scene light hearted. WHY? Betty Schafer is the lamest excuse for a love song. And what a bizarre staging for a "love song", it's the most asexual thing on Broadway. Two people standing 10 ft away from each other, singing lines like "I can't control all the things I am feeling", with no visible desire of even wanting to touch each other. Super believable *rolls eyes*.

What was the point of Joe's affair with Betty, or for Betty's engagement with...whats-his-name. Those scenes simply stopped the action, I personally couldn't wait for Norma to come back. For a show based around a single character, any scene which doesn't have her or is not about her is not worth keeping. Rest of the ensemble were most useful when they were clapping for Norma's "As If We Never Said Goodbye" (which got a standing ovation from a lot of people tonight, including yours truly).

Also, for everyone who says this is ALW's best score... well, this is definitely the score with his most beautiful melodies, but there's like a total of 5 melodies repeated a hundred times over. The orchestra was impressive, but I was missing the haunting tones of the cast album. But it's possible that sound design in the theater ruined the score for me tonight. I was sitting Front Mezz center, but had to strain to listen to so much of that show.

The best parts of the show were really Glenn, Fred, and the beautiful lighting design (the car chase was thrilling). I actually even quite liked the set, however stripped down. It was quite effective.

I know I'd have spent rest of my life wishing I had seen Glenn Close in the part if I hadn't seen it, but good god it was a waste of an evening.

Updated On: 5/6/17 at 12:16 AM

[BroadwayLuv2]

Posted: 5/6/17 at 12:22am

Any hope this is going to be extended with someone replacing Glen? Or would they have already announced it?

Seen it twice with Glen and would love to revisit with a New Norma this summer.  Fingers Crossed.

[10086Sundays]

Posted: 5/6/17 at 1:04am

Valentina3 said: "Max's(sic) Joe clearly has great material handed to him on a plate, but it looks like he doesn't care to do the part the justice it deserves in his vain attempt of making the role his own. Sunset Boulevard title song is possibly the best song in the score, but it has been directed in a comical way which is just stupid. That is one scene which gives Joe's character a fool proof chance to show complexity and sophistication, but they use cheap tactics (Joe taking his underwear off, teasing his ass, Max taking the underwear away in a funny way) to make the scene light hearted."

While I disagree with your overall opinion of the show, I agree with this.  Some of the direction is just ridiculous.  As noted above in "Sunset Boulevard," but also in "The Ladies Paying" they go for the lowbrow humor with crotch grabbing etc. I know some of that is written in, but they took it too far. 

I think that's part of why so many people didn't like Michael's take on Joe.  Whether it was his choice or he was directed this way, some of the juvenile choices detract from the show.  His voice is also rather thin and his pronunciation of "boulevard" irked me.  I will say that his performance in the final scenes was great and I wish he'd been allowed to tap into that more during the rest of the show.  His Joe was a little too happy-go-lucky at times.

Needless to say, I've seen it several times and it's still one of my favorite shows/scores and ALW's best, in my opinion.

Updated On: 5/7/17 at 01:04 AM

[chernjam]

Posted: 5/6/17 at 1:32am

Valentina3 said: "Sunset Boulevard title song is possibly the best song in the score, but it has been directed in a comical way which is just stupid. That is one scene which gives Joe's character a fool proof chance to show complexity and sophistication, but they use cheap tactics (Joe taking his underwear off, teasing his ass, Max taking the underwear away in a funny way) to make the scene light hearted. WHY? "

like 10086 I disagree with you're review... but I also disagree with 10086's take on this point.  The reason that the title song scene is directed somewhat light-hearted is that we're looking at all that's going on from Joe's perspective.  He's gradually becoming more aware of stepping into the quick sand... deciding to take up the Lady's offer to be her boy... Hollywood has sucked for him... what's the harm... The whole town is plastic and fake and phony anyway, so he's just going to stop trying to be something more (something that was there when he first wrote "Blind windows"...  So in this scene, he's playfully admitting he's given in to the fake-ness and phonyness - knowing on some level it's wrong (everything is wrong - Max, Norma...) but what could go wrong.  

Just my impression. 

Sorry you didn't enjoy it as much as I did.  Seen it twice already and trying to plan at least two more visits.  

[chernjam]

Posted: 5/6/17 at 1:53am

BroadwayLuv2 said: "Any hope this is going to be extended with someone replacing Glen? Or would they have already announced it?

Seen it twice with Glen and would love to revisit with a New Norma this summer.  Fingers Crossed.

"

I think hope for it extending is fading quickly.  It was always a bit of a long shot that they would extend again past June 25th (who could they get to play Norma for an even more limited run than Close?  is it worth the expense of rehersals/advertisements/etc)  And now that they're running "Only 8 weeks left" it doesn't seem likely.

But - rumors of this production ending up either in LA or somewhere else still are floating around (Australia?)  The only reason those seem possible to me is that Glenn has said repeatedly her desire to film Sunset.  Bringing it back to LA in Paramounts back yard would be one way.  Australia seems another way (following the path of Love Never Dies of filming a stage production?  Perhaps the contracts/negotiations/etc are easier there to get this done than doing it here in the US?)

[10086Sundays]

Posted: 5/6/17 at 2:30am

chernjam said: "Valentina3 said: "Sunset Boulevard title song is possibly the best song in the score, but it has been directed in a comical way which is just stupid. That is one scene which gives Joe's character a fool proof chance to show complexity and sophistication, but they use cheap tactics (Joe taking his underwear off, teasing his ass, Max taking the underwear away in a funny way) to make the scene light hearted. WHY? "

like 10086 I disagree with you're review... but I also disagree with 10086's take on this point.  The reason that the title song scene is directed somewhat light-hearted is that we're looking at all that's going on from Joe's perspective.  He's gradually becoming more aware of stepping into the quick sand... deciding to take up the Lady's offer to be her boy... Hollywood has sucked for him... what's the harm... The whole town is plastic and fake and phony anyway, so he's just going to stop trying to be something more (something that was there when he first wrote "Blind windows"...  So in this scene, he's playfully admitting he's given in to the fake-ness and phonyness - knowing on some level it's wrong (everything is wrong - Max, Norma...) but what could go wrong. "

Sorry, I wasn't clear in my post.  I agree with you about what the number's purpose is, but how they went about it is what didn't entirely work for me.  Joe climbing out of the pool, etc, was fine, a nice touch in fact, since that happens in movie and shows that Joe has embraced being Norma's boy-toy and living that up, for the most part.  However, the stripping and Max taking the swim trucks away like dirty underwear is what I didn't like.  The song should be both light-hearted and cynical.

Updated On: 5/7/17 at 02:30 AM

[castlestreet]

Posted: 5/6/17 at 9:37am

Today's the day!

[carnzee]

Posted: 5/6/17 at 1:14pm

OMG Valentina! After all your posts about looking for discounts, etc you had a bad time. Sorry to hear that. I agree with you that the scenes that don't involve Norma or Max are boring, but I feel that this production made them seem more enjoyable than just listening to them on the album. 

I don't think the lyrics are great for this show, but I think the plot is expertly constructed. It follows the movie almost verbatim. As Billy Wilder said, the best thing they did was leave it alone. 

I part company with you guys about the staging of the title song. I don't think it's one of the better title songs, but I thought the way it was staged struck the correct tone, and didn't seem silly at all. 

As to your question about the point of his romance with Betty, well that plot development is what leads to the conflict between Norma and Joe, and is necessary to set up the fatal conclusion. Without Betty, Joe may have been content to be a kept man for much longer. 

[muscle23ftl]

Posted: 5/6/17 at 3:46pm

I think the role of Betty is essential for the story to develop. Unfortunately it is very hard to find a good Betty Schaeffer. No one will top Judy Kuhn it seems.

[castlestreet]

Posted: 5/7/17 at 12:02pm

First my thoughts on the experience, then I'll share my thoughts on the production itself.  My wife and I drove 6 hours from Rochester yesterday morning to see this show.  As I've said before, this was the production that got it all started for me-this made me want so badly to be a part of the theater world in any way that I could.  I was 15 years old when I got the American Premier Recording for Christmas.  It was love at first listen.  For the next three years I begged everyone and anyone I knew to PLEASE take me to NYC to see ANY of the Norma's, or even to Toronto to see it there.  I ended up having to settle for that awful 1999 Tour with Clark...

 

As I sat in that theater yesterday, I couldn't help but think that somewhere, that 15 year old version of myself had to be in complete and utter disbelief-I was sitting in the Palace Theater, to see Glenn Close (THE Norma Desmond in my book, and always has been).  From the first down beat of the orchestra, I was in a state of theatrical heaven.  I saw Glenn Close in Sunset Blvd.  It is the moments like these that remind me that despite all of our many disagreements over productions, composers, stars, Tony nominations, or in Sunset fans case: who is the best Norma Desmond-none of it actually matters when you remember that the magic of the live theater is what got us all started.  

 

As far as this production-I truly did find so much to love.  Yes- her voice is thin these days, and given she was never a singer in the first place, it certainly lacks at times.  But her portrayal of Norma Desmond has grown so very much.  I found this Norma to be fragile, doing everything in her power to reclaim the joy that once existed in her life.  The constant build of this Norma, all leading up to those two powerful moments: the return to Paramount, and the Final Scene where it all comes tumbling down- where so powerful.  I found the staging to be mostly effective, however I was not a fan of the "ghost Norma"-I think this was an example of a director trying to add something that just isn't there.  All of the supporting roles were terrific, and I especially enjoyed Max-not remembering he was Pilate in the direct-to-video production of Superstar back in 2000.  While no one will ever be Judy Kuhn & Alan Campbell for me-these two certainly did the job very well.  I think there was humor found in this portrayal that I've not seen or heard before.  

 

But at the end of the day-this production is truly all about Glenn Close's Norma Desmond and hearing that score given it true due.  It is a performance that will live with me for the rest of my life, and I can only say how extremely thankful I am that I got to see it.  It was worth the 12 hour round trip, it was worth the 22 years it took me to finally see a first rate production, let alone with her!  

[chernjam]

Posted: 5/7/17 at 12:33pm

castlestreet said: "...From the first down beat of the orchestra, I was in a state of theatrical heaven.  I saw Glenn Close in Sunset Blvd.  It is the moments like these that remind me that despite all of our many disagreements over productions, composers, stars, Tony nominations, or in Sunset fans case: who is the best Norma Desmond-none of it actually matters when you remember that the magic of the live theater is what got us all started.  

 

As far as this production-I truly did find so much to love.  Yes- her voice is thin these days, and given she was never a singer in the first place, it certainly lacks at times.  But her portrayal of Norma Desmond has grown so very much.  I found this Norma to be fragile, doing everything in her power to reclaim the joy that once existed in her life.  The constant build of this Norma, all leading up to those two powerful moments: the return to Paramount, and the Final Scene where it all comes tumbling down- where so powerful.  I found the staging to be mostly effective, however I was not a fan of the "ghost Norma"-I think this was an example of a director trying to add something that just isn't there.  ....  It was worth the 12 hour round trip, it was worth the 22 years it took me to finally see a first rate production, let alone with her!  

"

Castlestreet - so happy you finally got to see it! And loved reading your review. Particularly about the magic of theatre... As one who is not involved in theatre outside occasionally going to see a show (or in the case of Sunset, see it many many times) it really is a beautiful experience to hear that orchestra begin and feel like you've stepped on a roller coaster that will go for a few hours.

For me, the ghost Norma was most effective during "The Greatest Star of All" and "The Perfect Year". In the former, it made the scene so much more dramatic and interesting rather than Max simply giving a speech... It helped build the narrative that they are all buying into the fantasy. In The Perfect Year, I just found it heartbreaking watching Norma almost recognizing how disconnected she is from reality as she watches her younger self in love in present day with Joe.

Anyway - like I said - enjoyed reading your review, especially knowing how long you've waited to see Close in this.

[Lot666]

Posted: 5/7/17 at 5:09pm

I've seen this production three times now and will likely go back once more before it closes. Before seeing it for the first time, I posted to here my concerns about Michael Xavier as Joe. They had just released a brief promotional clip online, which included an excerpt of him singing the title song, and I did not care for the way he delivered the words "Sunset Boulevard". I still prefer Alan Campbell's delivery and I also feel that Mr. Xavier plays too much of the role for laughs. Last Saturday evening he (literally) giggled throughout almost the entire show.

On a different note, I am always surprised when people say that this is not one of ALW's better scores. I think it perfectly conveys the brooding, forlorn, and sometimes even sinister atmosphere in the Norma scenes and then shifts perfectly to contrast with the youthful hopefulness of the young Hollywood crew and their various aspirations. I also don't understand the complaints about the book, as the show adheres closely to the original film and I see no problems with the story. I will concede the occasional clunker in the lyrics, but those instances aren't enough to impede my enjoyment of this show.

[carnzee]

Posted: 5/7/17 at 6:16pm

Lot666 said: "I've seen this production three times now and will likely go back once more before it closes. Before seeing it for the first time, I posted to here my concerns about Michael Xavier as Joe. They had just released a brief promotional clip online, which included an excerpt of him singing the title song, and I did not care for the way he delivered the words "Sunset Boulevard". I still prefer Alan Campbell's delivery and I also feel that Mr. Xavier plays too much of the role for laughs. Last Saturday evening he (literally) giggled throughout almost the entire show.

On a different note, I am always surprised when people say that this is not one of ALW's better scores. I think it perfectly conveys the brooding, forlorn, and sometimes even sinister atmosphere in the Norma scenes and then shifts perfectly to contrast with the youthful hopefulness of the young Hollywood crew and their various aspirations. I also don't understand the complaints about the book, as the show adheres closely to the original film and I see no problems with the story. I will concede the occasional clunker in the lyrics, but those instances aren't enough to impede my enjoyment of this show.

 

I'm sorry to hear about Xavier giggling, that sounds so unprofessional. I'm sure Glenn wasn't pleased. 

I do think ALW did a great job evoking the brooding Old Hollywood tone. I just think he is better at writing for larger than life characters, such as Jesus, Evita, Grizzabella  , Phantom, and Norma. I  wish the scenes with the "ordinary " characters like Betty and Joe had been mostly dialogue, because he wasn't as inspired by them. 

 

[chernjam]

Posted: 5/7/17 at 6:34pm

carnzee said: "
I'm sorry to hear about Xavier giggling, that sounds so unprofessional. I'm sure Glenn wasn't pleased. 

I do think ALW did a great job evoking the brooding Old Hollywood tone. I just think he is better at writing for larger than life characters, such as Jesus, Evita, Grizzabella  , Phantom, and Norma. I  wish the scenes with the "ordinary " characters like Betty and Joe had been mostly dialogue, because he wasn't as inspired by them. 

"

It's nice to find points where fans can disagree... like this one...  I really think this is one of ALW's finest scores - including the non-Norma scenes.  "Girl Meets Boy" is one of my favorite scenes.  "This time next year" isn't my favorite, but it does the job and doesn't slow the action down for me.  The only song that I never really cared for was "Too Much in Love to Care" - just seems a bit out of place, which I'm not sure why - if the lyrics are too clunky or melody if it's too cheery...  Kind of needed something like 'I'm hopeless when it comes to you' from stephen ward there (revelatory/romantic/know it's wrong) - but that's probably my only quibble with the score - and one that doesn't bother me too much as by then, the roller coaster or emotions is at full speed as Norma loses her S#!+

[chernjam]

Posted: 5/7/17 at 6:34pm

carnzee said: "
I'm sorry to hear about Xavier giggling, that sounds so unprofessional. I'm sure Glenn wasn't pleased. 

I do think ALW did a great job evoking the brooding Old Hollywood tone. I just think he is better at writing for larger than life characters, such as Jesus, Evita, Grizzabella  , Phantom, and Norma. I  wish the scenes with the "ordinary " characters like Betty and Joe had been mostly dialogue, because he wasn't as inspired by them. 

"

It's nice to find points where fans can disagree... like this one...  I really think this is one of ALW's finest scores - including the non-Norma scenes.  "Girl Meets Boy" is one of my favorite scenes.  "This time next year" isn't my favorite, but it does the job and doesn't slow the action down for me.  The only song that I never really cared for was "Too Much in Love to Care" - just seems a bit out of place, which I'm not sure why - if the lyrics are too clunky or melody if it's too cheery...  Kind of needed something like 'I'm hopeless when it comes to you' from stephen ward there (revelatory/romantic/know it's wrong) - but that's probably my only quibble with the score - and one that doesn't bother me too much as by then, the roller coaster or emotions is at full speed as Norma loses her S#!+