Nicole Scherzinger to star in West End Sunset Boulevard at the Savoy — Page 19

Dolly80 said: "This is transferring in March"

If that's true (and I really hope it is) they must be making an announcement very soon.

If this does open in March it's quite an interesting race between Merrily, Cabaret and Sunset for some of the major awaredsl. I think I would divvy up the awards as follows (recognising Cabaret opinion based on original London incarnation):

1. Best Revival & Director - Sunset

2. Best Actress - Sunset

3. Best Actor & Supporting Actor - Merrily

Sorry Cabaret.

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Cabaret absolutely trumps Sunset in delivering both spectacle and emotion under Frecknall's direction. And her production accomodates different interpretations by different actors, even if I have a preference for the original cast taken together as a whole. She knows when to go big and when to go small and her choices all fit in a broader vision unlike Lloyd's, which muddles everything it wants to say about the art form at the center of the piece. It's fun, but as the one of the best London critics put it, it's hologram than heart.

That being said, Nicole should get the cast albun Grammy absolutely. Her voice is marvellous.

OhHiii said: "blasvader said: "Cabaret absolutely trumps Sunset in delivering both spectacle and emotion under Frecknall's direction. And her production accomodates different interpretations by different actors, even if I have a preference for the original cast taken together as a whole. She knows when to go big and when to go small and her choices all fit in a broader vision unlike Lloyd's, which muddles everything it wants to say about the art form at the center of the piece. It's fun, but as the one of the best London critics put it, it's hologram than heart.

That being said, Nicole should get the cast albun Grammy absolutely. Her voice is marvellous."

Nicole will 100% take the Tony for this if it transfers. And yes, you’re correct, she’ll get a Grammy for the cast album.

Also hilarious that you’re using a single London critic when the overwhelming majority of the reviews were 5 stars across the board. It’s ok if a production isn’t your cup of tea, but let’s operate in reality here, yeah? "

I quoted that critic because I consider her to be one of the best, exactly as I mentioned. I wanted to echo her thoughts, nothing else, since she put it better than me. Did I say that it didn't get other reviews? So unncessarily hostile about something I didn't even say. Can also direct you to other very good ones with similar criticisms since you are clearly keeping count.

OhHiii said: "The people who don’t like this production really do *actively* hate it, huh? I hope you all can find peace with this this holiday season."

The person you picked a fight with just stated an opinion but you took it personally and attacked them, rather than address any of their criticisms. Not the first time you've done that in this thread. Are you part of the production?

binau said: "Perhaps biggest concern right now is the hype train is getting too strong that it may lead to disappointment (whereas, I went in expecting junk so it’s easier to be impressed)."

Hypes are always short-lived. In a few weeks there will be something new. People nowadays seem desperate to jump from one hype to the next. Without any critical thinking. So I wouldn't worry too much about the strength of this particular hype.

I feel that once the novelty of the long, unnecessary note, the fun gimmick of the filming, wears off, there is not much left.

For the people who do truly love the material and score beyond the hype, there are some much better versions of "With one look" out there, sung better, with a great dynamic orchestra, tempo changes, versions that feel much more alive and thrilling. But I'm sure everyone who loves the score already knows that.

Updated On: 11/24/23 at 11:11 AM

The only person I can think of who might sing "With One Look" better than Nicole is potentially Betty Buckley (at least, in comparison to Glenn Close, Patti Lupone and Elaine Paige). But going back to these recordings I find them so fast - I love the slow self-indulgent tempos of this production. It has the effect of wringing as much emotion as possible. And I love the long 'unnecessary' (but necessary) way in "Never said goodbye" they hold I've come HOMEEEEEEEEEEEE at last. When you've got it, flaunt it.

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Just got out of tonight's performance. Going in, I was very skeptical of this production -- I generally do not like Jamie Lloyd's direction. Could not stand his Seagull and did not really think the direction worked in A Doll's House, either. (Jessica Chastain, however, was stellar.)

On the whole, I think Nicole Scherzinger elevates the production so much that you can look past some of the questionable directorial choices. While I like making fun of Lloyd's minimalism as much as the next person, I think it actually worked for some scenes (certainly toward the end). The fact that the rest of the company had mostly blank facial expressions (perhaps as a contrast to Nicole's exaggerated looks?) was not a choice that worked for me. At the end of Act I, the camera work felt a bit one-trick, but I thought it was more effectively used in Act II (particularly the scene with Betty and Joe, which I won't spoil). The horror-like elements of the production worked. The random twerking in the middle of Act I and turning Norma Desmond into Kim Kardashian later on did not.

But my goodness. Whatever skepticism I had about Nicole Scherzinger (more curiosity, if anything) went right out the window after With One Look. I had chills listening to her With One Look and As If We Never Said Goodbye. (I've only seen the Kennedy Center production live, so I don't have Glenn Close, Patti Lupone, or others as comparators.) Sure, Nicole Scherzinger can belt with the best of them -- but I think she effectively captured the fragility of Norma, in a way that SJB did not. (To be fair, Nicole's also had much more time with the role...)

All told, I think I liked the production -- and think I have a better understanding of Jamie Lloyd's vision. That's not to say I like his directorial approach: I still like a full set and don't like having to mentally fill in the gaps left by his minimalism. But I kind of get it now.

And Nicole Scherzinger -- what a revelation.

Also, random bit of trivia, but Jane Krakowski and Phoebe Waller-Bridge were both at tonight's show.

Updated On: 11/24/23 at 05:58 PM

I agree akhoya87 that the strength of Nicole’s performance is not the belting. It is of course a part of it - but so many Normas including Rachel Tucker can belt right now. It’s the fragility of being able to sing vulnerability with a very controlled vibrato on soft notes that is highly unusual - something in my opinion only people like Bernadette Peters or Betty Buckley can do well. Combine this with some of the money notes and it’s just so satisfying.

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Interesting comments from Lloyd Webber

https://www.broadwayworld.com/article/Andrew-Lloyd-Webber-Broadway-is-Now-Almost-a-Vanity-Project-20231128

“A statistic I got last week for London is that for every pound that it generates in the theatre, it generates £1.40 in the local economy,”

“Theatre is, in my view, in the UK, an incredibly exciting and good investment."

“Broadway is now almost a vanity project and the only shows that can survive on Broadway are shows like The Lion King or Hamilton, which are so huge that they can more than break even.

“To put a musical on Broadway now would cost roughly $20 million.”

Lloyd Webber continued: “I passionately ask for two things: that theatre is supported by government a little more than perhaps it is at the moment, and I passionately ask you, if you are thinking of investing, to think of Britain first and think of our theatre.”

OhHiii said: "Rave review from Peter Marks. Really feels like when this comes, American Theatre Wing can just go ahead and engrave the Tony for Nicole.

https://www.washingtonpost.com/entertainment/theater/2023/11/30/sunset-boulevard-scherzinger-jamie-lloyd/"

Wow - between this and the NY Times review, ALW's Sunset Blvd has never gotten reviews like this. Even in 1994 the most you could say was they were "mixed."

For west end standards the show is as hyped and is selling as well as you could expect. It also has all been after the performances started and reviews came that it really took off. There wouldn’t be many if any hotter tickets atm.

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Updated On: 12/2/23 at 04:55 AM