SUNSET BLVD. Reviews — Page 34

Updated On: 1/25/25 at 09:52 PM

Is there any firm information re the end of the booking period!?

Does Nicole definitely leave 6th July or might she extend?

If Nicole doesn't extend, are there any rumours as to whether show would aim to find another star to continue with or close?

Apologies for above message.



i have to confess, I’m in the minority. I hated this. With every fiber of my being.

Danny1984 said: "Is there any firm information re the end of the booking period!?

Does Nicole definitely leave 6th July or might she extend?

If Nicole doesn't extend, are there any rumours as to whether show would aim to find another star to continue with or close?

"

The last rumor that was circulated mentioned Heather Headley - but I'm not sure if that was intended originally as the Tuesday Guest Star or as the next Norma. I think if Sunset recoups financially and does well at the Tonys there might be interest in continuing with a new star. The business of Broadway has been so tough in recent years can imagine there being so many variables to consider at this point.

Before it opened everyone was asking "How are they going to do the second act start in the cold of NY Winter," but I'm thinking it would be even worse in July & August.

To sell through the Summer I think it would need a "name." Ms. Headley, unfortunately is not yet a "name."

Edit: Forgot to add that I enjoyed reading Sally Durant's review. Even though I didn't go for it as much, it's still interesting to me to read how it affected those who really liked it a lot.

Updated On: 1/26/25 at 10:00 AM

Prove me wrong, Jamie Lloyd, but I think it will be EXTREMELY difficult to get anyone of legitimate box office fame who'd be willing to replace Nicole in this and be compared to her. These are the perils of star-casting and trying to replace a singular performance. It might be better to go out on a high and close at the end of Nicole's run.

(Heather Headley is not a person of legitimate box office fame)

This production is much more difficult than the average star role on Broadway. It's extremely exposed (physically, vocally, emotionally). The cameras are right in her face. You cannot hide lozenges in your pocket. There's not a built-in moment for an onstage water break. She doesn't get to chill out offstage for stretches like Dolly Levi or Mamma Rose. There's not a ton of choreo or costume/set tricks to hide behind if having an off night. The score is a bear and it's not the most well-structured musical in the history of Broadway.

The big trick is that Scherzinger and Lloyd (and the invaluable Tom Francis) make it look easy.

You thought the removal of the headphones was comedic?

I actually agree. And that single tear drop has always made me laugh.

Hi :)



Has anyone won the lottery recently and where were your seats? Is there a difference between lottery, in Person rush, online rush?



The rush I found on todaytix were all rear Mezzanine or Balcony

Dirty Chestnut said: "She's performing on Colbert tonight. Given this new round of press, they can barely make it to July, and you think someone else coming in is gonna make money? Sunset was the big launch right out of the gate, Gypsy and Audra are playing this like Tom Brady. Behind the entire game until you pull ahead in the last 30 seconds. I fully expect Audra to be everywhere during Tony time, and will probably extend til Labor Day."

Danny Burstein said in his post about having Rebecca Luker's dressing room that he signed a yearlong contract, I imagine Audra's is the same

Nicole performed on Colbert tonight and dressed in a beautiful outfit with great hair was infinitely more exciting than she was on stage. Her voice is impressive but with her tacky stage costume and general OTT approach to the character does not deliver a great take on Norma. Tonight you could see how it could be, though, if things were different.

"Lloyd’s work with cameras fits so perfectly with the themes there’s almost nothing to say."

Please do say, Sallu D. In fact, say as much as you can because it didn't seem perfect to me at all. After the initial "oh they're filming as if it's a movie" idea sank in....all I saw were actors interrupted by camera men. The use of the footage was not really impressive. It didn't elevate the storytelling.

I agree on both points -- Diego feels like you are watching the next big movie star, AND this was the most quiet and respectful audience I've ever been in (when they weren't clapping and cheering at the appropriate moments, of course).

Listener said: "Please do say, Sallu D. In fact, say as much as you can because it didn't seem perfect to me at all.After the initial "oh they're filming as if it's amovie" idea sank in....all I saw were actors interrupted by camera men. The use of the footage was not really impressive. It didn't elevate the storytelling."

Well, different strokes for different folks! I understand why some people hated this, I just happened to love it. But hey, I loved the Gold Glass Menagerie and Von Hove's Crucible, so maybe that says more about my taste.

As for the cameras, I think what was most exciting about the concept wasn't "oh, they're filming it like a movie," which I think would be a lazy and ill-conceived idea not inherently connected to any of the material. What I took away from the moments the camera was utilized - particularly in the second act - was the contrast between the characters playing for the cameras and interacting with other. Watching how the characters switched from directly interacting with each other and instead acting for the camera (and the audience) brought to mind a whole layer of how and when these people are being sincere, to themselves or to each other. When they're trying to convey their emotions to the watching audience? When they're communicating directly with each other? When they are watching someone play for the camera while they're trying to connect with them? There was a dynamism to the concept that had me bouncing back and forth between watching the projected video of stylized emotion and watching the stage picture, and how the characters stalked each other, bouncing between themselves and the cameras. I really found it enthralling and engaging with the material.



CopleyScott17 said: "I also just wanted to add a word about the audience. You hear so many horror stories about disrespectful and inconsiderate audiences these days, but last night's crowd was magnificent. The energy was electric (Joe's second-act entrance was THRILLING). You could literally hear a pin drop during the dramatic scenes (even in cold season, in the dead of winter I only heard one lone cough!). The applause was rapturous and respectful throughout. Just like the good old days. Bravo, Broadway!"

I was also impressed by the audience. I think partially because of the incredible sound design, each moment of applause is so organic. There are maybe four moments besides the act break and finale: Norma's entrance" after "With One Look," after "Sunset Boulevard," and after "As If We Never Said Goodbye." I was amazed at how respectful the audience was during the show! Only after "I've come HOOOOOME at last" was there even a hint of mid-song applause, and it died down fairly quickly. Hey, I might have wished everyone waited until Nicole finished the final notes of her two songs before erupting into applause, but Hell, that's a nit-pick. And I was so viscerally blown away by 'With One Look" that I understand their urge.

Updated On: 1/28/25 at 12:41 PM