SUNSET BLVD. Reviews

This was on fire tonight. Many standing ovations. Jamie Lloyd must win the Tony for Best Director. period. Nicole has the Tony to lose. Sorry, Audra & Idina - Lloyd's concept here helps her to the win.. Tom and David are also going to be hard to beat. Having seen Wonderful World at the matinee (Iglehart isn't the epiphany expected - the show's strengths are the women who give better performances). Wonderful World has a great set. some good performances but that book especially act I is hard to get around. Cearcy, Smagula, Gregory & Fleming are the winners on WW.

Tonight was a slam dunk for SUNSET. It is THE revival to beat.

Updated On: 10/20/24 at 12:06 AM

When i saw it, “with one look” had 3 people stand. It’s “as if we never said goodbye” that had a true standing ovation.

I assume that was to me, but I was indeed at the show last night. I would never blindly dismiss something I haven’t seen. The reason I said “plants” is because the With One Look standing O felt quite bizarre. And a group in the fifth row as well as pairs in I think the second row all stood together as if on Cue. It was o Lu a smattering of people who wound up standing. But the same group who lead that charge also appeared to be the first ones leading the second movement, and were the people frantically taking curtain call photos for social. Perhaps they just knew people in the show or were super fans. It just felt weird.



People will have all types of experiences off the same piece of art. My experience was that this mostly didn’t work. Didn’t understand what the modern dress was supposed to say, didn’t feel any connection between the characters (so when they fall apart at the end I just didn’t feel connected to any of it), I don’t think the now infamous outdoor section actually adds anything to the show. It really left me quite cold. And I scratched me head at so many contemporary elements mugging at the audience while the story is specifically located in 1949. What I did love were several of the movie moments which evoke the classic film era. Nicoles vocals were beyond outstanding even if her character choices left me truly confused. But the real find is Tom Francis, who should hopefully find a line of offers waiting for him after this. I actually think he is their most likely Tony winner.


But call me “lazy” all you like.

I went on Tuesday and there were 3 mid-show standing O's visible from mezzanine that increased in size and speed as the show went on. With One Look, the title song and a quick to rise passionate one for As if We Never Said Goodbye.

It was an audience primed to like it but the place was electric.

Updated On: 10/20/24 at 08:36 AM

It is going to be interesting to read NYT tonight. He is on record for hating the material. He was vicious about the Close revival saying it was 'dead face down in the pool.'

I suspect he will praise Nicole (she is giving a performance of a generation) and maybe even the production - but in a patronizing way claiming it is the best production of a bad show.

See you at 10pm tonight........

I saw this yesterday afternoon from the last row of the balcony and I’ll just list out my points.

1) Nicole is indeed on FIRE and giving the performance of her life. However, there were some moments where she was tiptoeing between camp and pure ham and, while Norma is indeed a grande dame (and so camp is implied), she should be careful. Her “AIWNSG” rocked my world, and I did leap up in ovation after. Hearing that opening crescendo though gave me LIFE.

2) Wasn’t a huge fan of how Betty is played here. I don’t think it’s Grace’s fault, but I fear she’s just been reduced to a cardboard character with not much of an arc and that made here “Too Young In Love To Care” not believable. Conversely, David Thaxton has a VOICE. He is menacing and that rich baritone during “Greatest Star of All” stirred my soul.

3) The mixed media aspects were hit or miss for me - mostly a hit. They need to cut the schtick during the Entr’acte, though. Let the music be enjoyed. I don’t need backstage nonsense bits to take me out of the show as I’m trying to get back into it.

4) I definitely think this will be another highly divisive London transfer. What concerns me is that, if you don’t know anything about Sunset Boulevard going into it, you may end up very lost. I told a friend yesterday that he should watch the movie to get some context first before going to see the show

I enjoyed it overall and I’m going back with my mom in two weeks.

BJR said: "The Entr'Acte makes perfect sense to me, and is the best version of that song I think I've seen performed.

It thrillingly dramatizes the superficiality, the falseness, the narcissism, the ridiculousness, the danger, the show of show biz. That's what the song is about! And show me, don't tell me."

Question about the Entr’Acte if anybody knows: is that segment pre-recorded, or is that done live for each performance? It’s so incredibly done, and leads so well into the act two opener, I’m curious.


I asked security what the plan is for cold, inclement weather, and they told me they’ve been working on an indoor route. It will be interesting to see what they come up with.

okay, this is adorable

KevinKlawitter said: "okay, this is adorable"


Now that is camp.

Seb28 said: "quizking101 said: "They need to cut the schtick during the Entr’acte, though. Let the music be enjoyed. I don’t need backstage nonsense bits to take me out of the show as I’m trying to get back into it."

That's my problem with this show, the director doesn't understand or trust the material. For example the depth and darkness of this song, it is written so incredibly well andthis moment is a very dark place, not a place for schtick from the whole ensemble. Not a place for distractions and laughing. Each instrument conveys a feeling with each note, supporting Joe's mindset and it is not at all what Lloyd makes of it.
"

well put. the pieces are there- Nicole is thrilling, the projections and lighting are well done, the energy is great--but they do not come together to create a coherent whole.

quizking101 said: "2) Wasn’t a huge fan of how Betty is played here. I don’t think it’s Grace’s fault, but I fear she’s just been reduced to a cardboard character with not much of an arc and that made here “Too Young In Love To Care” not believable."

This is my issue with a lot of Jamie Lloyd's work (thinking of Sunset, Cyrano, and Romeo and Juliet specifically). It feels like he tries to modernize and 'strengthen' the female leads in the shows he directs to the point where they just feel kind of flat and cold. I understand wanting to look at the characters through a contemporary lens, but I think his style sacrifices any vulnerability and makes the love stories unbelievable.