Nicole Scherzinger to star in West End Sunset Boulevard at the Savoy — Page 25

I think the other slightly frustrating thing about the word ‘gimmick’ here is that people are taking the few light moments - which generally feel earned at best or benign at worst - and pretending that the entire production is based on these gimmicks. It isn’t. And it feels a little like taking 10 seconds of Sutton’s ‘worst pies’ and pretending she couldn’t sing the role. All I’ll say is, watch the production with an open mind and judge for yourself. 

The production is thrilling, funny, shocking, moving, musically brilliant. It’s visually highly stunning - like an abstract piece of modern art. 

In comparison, the 2017 revival was cheesy, boring, poorly sung and downright cringeworthy at points. I think the fact that ‘Lady’s paying’ has been cut should tell you that Jamie Lloyd has higher standards for the show than the writers would have asked in the past. I don’t know how people can be defending this material with a straight face. The only thing that worked for me was Glenn Close’s performance but unfortunately she just doesn’t have the vocals to make her songs thrilling the same way many others in the role did/do. 

Never in a million years would I ever think that people would be so precious to treat this show as if it was FOLLIES or SUNDAY IN THE PARK WITH GEORGE. My god, we want to die on a hill about the ‘lyrics’ the ‘lyrics’. Am I the only one that recognises the lyrics are for the most part not good and not part of the show’s strengths? 

I’ll leave you with this quote from Patti LuPone herself. For the first time with this production, I actually can’t say I agree with her anymore. 

“On closing night, I entered through the lobby of the Adelphi Theatre, which was a new experience for me. As soon as I walked in, the first three people I saw were Trevor Nunn, Christopher Hampton, and Anthony Powell. I walked right up to them—I think I actually punched Anthony Powell in the arm, not the person I should have punched hello. I was very nervous, as you can imagine. They turned around and looked at me as though they had seen a ghost. Trevor turned white.

“I took my seat with Matt in the orchestra and started watching Sunset Boulevard. It was boring and slow. The black, white, and gray set didn’t help the production, in my opinion. At the intermission I saw David Caddick, and I actually said to him, “David, were we this boring?” He said no. Clearly the show had gone downhill in the two or three years it had been running, as shows can do. That’s not unusual.

I went to the closing night party for a while. When I talked with Trevor, he said the show didn’t deserve to close. I just looked at him and said, “But, Trevor, it was so boring.” He gave me a stupefied look. Well, it was, Trevor. I walked away knowing that whatever was wrong with the show wasn’t entirely my problem. I may not have been the ideal Norma for a lot of people, but Sunset Boulevard was a deeply flawed musical—with me or without me.”

Updated On: 2/28/24 at 12:38 AM

binau said: 
The production is thrilling, funny, shocking, moving, musically brilliant. It’s visually highly stunning - like an abstract piece of modern art.

Completely agree. Have a very good, full-length boot and was blown away. Never saw any other version of the show. Nicole was amazing - her voice is simply wonderful and so expressive.


I’ll leave you with this quote from Patti LuPone herself. For the first time with this production, I actually can’t say I agree with her anymore.
 

“But, Trevor, it was so boring.” He gave me a stupefied look. Well, it was, Trevor. I walked away knowing that whatever was wrong with the show wasn’t entirely my problem. I may not have been the ideal Norma for a lot of people, but Sunset Boulevard was a deeply flawed musical—with me or without me.”"

I cannot recall seeing an article anywhere where Patti Lupone has been complimentary of anyone who has re-created a role in a show she's done or a sung a song she sang. After Susan Boyle performed I Dreamed a Dream on Britain's Got Talent, she couldn't say how amazing and inspirational Boyle was, just talked about her own interpretation. Big talent, big mouth, small human being.

binau said: "The production is musically brilliant.”"

I agree that the writing is wonderful, but you seem to be contradicting yourself. You also said before that your mind wandered off during the show. 

I also think that the musical direction in this version was very poor. 

You defend the gimmicks by saying the material is total trash so they are a relief. You don't seem to care about deliberately taking audiences out of the show. You complain about the lyrics and your idea is that audiences should not listen to them? Wouldn't it be more thrilling to you to have other lyrics or writing then? 

I think it's a shame that the director wants Nicole to break character so often. I have more trust in her. I agree that Glenn Close was afwul and Patti Lupone is a small person.

Updated On: 2/29/24 at 05:24 AM

binau said: "Never in a million years would I ever think that people would be so precious to treat this show as if it was FOLLIES or SUNDAY IN THE PARK WITH GEORGE. My god, we want to die on a hill about the ‘lyrics’ the ‘lyrics’. Am I the only one that recognises the lyrics are for the most part not good and not part of the show’s strengths?"

You may be the only one who (repeatedly) insists that your appraisal is the only valid appraisal.

Updated On: 2/28/24 at 08:35 AM

binau said: "* Nicole lookingout at the audience when Joe says they're not all here to see her - of course Norma (and specifically Nicole's Norma) would have the kind of attitude that Nicole displayed here. It's in service of the character and show.

* Nicole twirking - again given the context of the scene where she is acting out Salome in the most ridiculous/hilarious way it does feel like Nicole's Norma would have actually thought this was good and done this. It's in service of the character and show.

* Act two title number - I agree that this very much does take people out of the show and is the one place that it feels gimmicky for the sake of being gimmicky at points.  

* "As if we never said goodbye" clapping - this is a weird one I didn't remember Nicole doing this much earlier in the run but definitely noticed it at the end. But again, like the twirking, the attitude to the audience (also all the other line readings such as 'don't have to worry about money honey', 'now go' etc.) it's all kind of consist with the character. "

I think all these things are a desperate attempt to make herself seem cool, b*tchy, popular, sexy and young to the audience. As a performer. Not as Norma the character. And some audience members seem to fall for it. Twerking has nothing to do with Salome. It is truly putting ego above the role. Which is a shame in my opinion. 

It made me see just Nicole, but that seemed to be what some audience members wanted.

About the bad musical direction, I meant the wrong choices in dynamics, tempo, musical choices, etc. Which made her lose pace in every line. For example in the song AIWNSG I felt like she was dragging and then the cool Nicole clap and kick came and from there she was ahead of the music. One big mess. I have heard versions with so much more dynamics, finesse, emotion, tempo and better vocals. The first half of the song should be thrilling and a wonderful interplay between vocal and instruments which was not at all the case here.

 

 

 

Updated On: 2/28/24 at 08:23 PM

This endles discourse has gone on way longer than it needs to.  I will close by saying any show that leads to such passionate opinions  - either positive or negative - is doing exactly what great art should. Obviously, this is essential theatre to see when it opens on Broadway. Get your tickets.

“Essential” is doing some heavy lifting here.

It starts on Monday. Creative team is in New York for auditions.........

This is very exciting......I saw it in London and it's brilliant. 

Broadway Flash said: "Auditions for who? "

Probably the ensemble and understudies/standbys.

 

Broadway Flash said: "Auditions for who? They already have all the principles coming over. The creative team doesn’t need to be there for the chorus. The Effect starts performances tomorrow. Do you know when Tammy Faye is starting performances? "
 

The Norma alternate, Norma standby, and all ensemble and covers. Not sure where you’re getting that “the creative team doesn’t need to be there for the chorus” I’m not sure  I can assure you when it comes to the original cast, the creative team is present for all final callbacks for ensemble calls, and if they’re not physically present, they get final approval.

 

Broadway Flash said: "Most of the time they get their friends in the show. Broadway is rigged."

What are you TALKING ABOUT?

There’s an old feeling that there’s no point in auditioning cause they already know who’s gonna be in the show.  I’m not saying it’s pointless, but directors and choreographers like to use the same people over and over again (their friends). 

Nobody in this thread knows what anybody means, so you’re in good company. 

We have the elders thinking Sunset Boulevard is sacred text when it’s always been a very mediocre musical. We have the “what theatre is this going in” crowd. We have the smooth brain crowd. The more the merrier!