SUNSET BLVD. Reviews - Page 34

[Sally Durant Plummer]

Posted: 1/25/25 at 2:34pm

I had the pleasure of finally seeing this production last night, and it is easily one of the most thrilling nights at the theatre of my life.

There are almost no words for how totally Jamie Lloyd has transformed a laborious, lumbering musical into a completely original, transfixing, and haunting piece of art. This is brutalism at its finest, beating the material into submission, and remaking it into your own image. And what an image it is: a non-stop parade of completely arresting scenes and striking visuals, a collection of unified and dedicated actors, all scored by perhaps the greatest sound design I have ever heard in a theatre.

Diego Andres Rodriguez was on as Joe Gillis and he was perfect. This wasn’t an adequate performance by an understudy, this was a tour-de-force star-turn that would catapult him into Tony consideration if he had opened the show. In a role that so often seems to be a cypher; a sketch for Norma to act and react around, Rodriguez pulls the show into focus around him. This is Joe’s story, and Norma is an aspect - a very important aspect, but just an aspect nonetheless - in his life. He barely leaves the stage, and is so transfixing and cold that he becomes irresistible. I finally understood what Norma and Betty saw in him. He is utterly captivating and scrupulously cruel. “Sunset Boulevard” was every bit as thrilling as Norma’s anthems.

Grace Hodgett-Young was refreshingly unaffected in her portrayal of Betty, and manages to squeeze life out of a boring cardboard cut-out. She brings a drive to Rodriguez and you actually believe their love - even if they’re using each other. The scenes when she was onstage with Norma, occupying the same physical if not literal space, were artfully done and showed a good contrast. Ditto to the scenes contrasting the old and young Norma - doing a lot with a little, even if you can’t exactly be subtle when blown up to 30 square yards.

The most shocking part of the evening for me was the opening scene, and watching how Lloyd had made “Let’s Do Lunch” not only bearable but interesting. His bizarre, neo-brechtian direction of the ensemble is perhaps his greatest gift to this production, because I thought “Every Move’s a Circus (Reprise)” and “By This Time Next Year” were every bit as captivating as the scenes with Norma. Maybe it was the horrible seating at the St. James, but I leaned forward the entire show, trying to see every detail of what was happening.

Lloyd’s work with cameras fits so perfectly with the themes there’s almost nothing to say. The way the screen also serves to flood the theatre with red or white light only add to that thrill. The second act started coalescing around the camera-work, and the double visual of seeing the bodies engaging with each other in space - Norma, Artie, Betty, Joe, Max - while simultaneously playing for the camera was f!cking brilliant. Maybe Lloyd has a bag of tricks, but he has just enough of them to take us through the show. If “The Phone Call” and “What’s Going On, Joe?’ lean precariously into (and half-fall into) camp, you are so utterly taken in by everything that came before it you can forgive it all - the running around on stage, the ensemble in Norma’s slip, the melodramatic ripping off of the microphones. And these things aren’t even bad, just ridiculous enough to break the tension into comedy.

But the final scene was so expertly done, and beautifully timed and played, that it’s all worth it. The black out, and the gasps, and the blood were so viscerally chilling, and the white light flooding into our faces when the mad scene starts, was theatre. Brutal, vital theatre. And the final monologue and aria, with the indelible image of Norma, soaked in blood, back at last… just utter perfection.

And Nicole…

Let me say straight off that I would give her the Tony easily. Her voice - if a bit too poppy in its training for my liking - was beautifully controlled and let loose at all the right moments. “With One Look” was thrilling - the best part of the show vocally. “As if We Never Said Goodbye” blew the roof off, ripping at everyone in the audience when she announced “I’VE COME HOOOOOOOOOOOOOOOOOOOOOME AT LAST!” Her acting was effortful and nuanced, sinking utterly into the character Lloyd created, though it was so unmoored at some points it was hard to find a complete character. But that was obviously the intention. Some of the funnier moments (the valley girl drawl during the horoscopes, the finger snapping and twerking) were too much for my taste, but she is so committed to the bit I fell for it. She stalks around the stage like a predator, an insect or spider, waving her arms like a siren for lost men. And the final transformation into murder was so perfectly connected from that portrayal that I forgive all of my smaller misgivings. This is a performance that is greater than the sum of its parts - beating the audience into submission until you have to accept that she is the greatest star of all. Nicole and Lloyd were made for each other.

I’ve seen Gypsy and Sunset, and, between the two shows, only one has a must-see performance in it. And it’s the one at the St. James.

I loved this show so much, I think I’m going to drag my friend to it next month when we come up for my birthday. I love Audra. I love Gypsy. But I don’t feel a need to return to that show. With Sunset, I feel a need to return as many times as humanly possible. It is simply towering.

A mediocre show has been transformed into the must-see event of the season. That’s theatre. That's art.

Updated On: 1/25/25 at 02:34 PM

[Sally Durant Plummer]

Posted: 1/25/25 at 9:52pm

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

[chernjam]

Posted: 1/25/25 at 9:59pm

Sally Durant Plummer said: "I had the pleasure of finally seeing this production last night, and it is easily one of the most thrilling nights at the theatre of my life.

...I’ve seen Gypsy and Sunset, and, between the two shows, only one has a must-see performance in it. And it’s the one at the St. James. I loved this show so much, I think I’m going to drag my friend to it next month when we come up for my birthday. I love Audra. I love Gypsy. But I don’t feel a need to return to that show. With Sunset, I feel a need to return as many times as humanly possible. It is simply towering.

A mediocre show has been transformed into the must-see event of the season. That’s theatre. That's art."

Was excited reading your excitement of this production.  While Sunset Blvd has always been a personal favorite.  Having seen the original and revival easily over a dozen times, I know the whole show inside and out.  , I can appreciate how weaknesses in the pace and story itself have been not simply "fixed" but that the entire show feels new, dynamic, and simply amazing.    Even a simple line like "she doesn't live with mother" as betty's image fills the stage with a look of betrayal, shock and confusion had me on the edge of my seat.  

Truly the theatrical event of the season

[Danny1984]

Posted: 1/26/25 at 5:02am

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?

 

[iluvtheatertrash]

Posted: 1/26/25 at 8:10am

Have to confess,

[iluvtheatertrash]

Posted: 1/26/25 at 8:10am

Apologies for above message.

 

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

[DramaTeach]

Posted: 1/26/25 at 9:09am

iluvtheatertrash said: "Apologies for above message.



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

Same. If she’s gone, close it.

[chernjam]

Posted: 1/26/25 at 9:11am

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.

 

[FANtomFollies]

Posted: 1/26/25 at 9:27am

chernjam said: "
The last rumor that was circulated mentioned Heather Headley"

I actually hope this doesn't happen just for the sake of my personal finances lol.

 

[inception]

Posted: 1/26/25 at 10:00am

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

[kmpellicone]

Posted: 1/26/25 at 10:30am

I think in this revival Deborah Cox could really make a splash and bring people in. Fantasia is another powerhouse who would bring new life into it. Jessie J could make a smashing Broadway debut in this and help revive her career. I would LOVE to see Heather Headley take it on. I think there are quite a few names who really could do this and well. 

[ErmengardeStopSniveling]

Posted: 1/26/25 at 10:53am

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.

[WldKingdomHM]

Posted: 1/26/25 at 10:59am

kmpellicone said: "I think in this revival Deborah Cox could really make a splash and bring people in. Fantasia is another powerhouse who would bring new life into it.Jessie J could make a smashing Broadway debut in this and help revive her career. I would LOVE to see Heather Headley take it on. I think there are quite a few names who really could do this and well."

Fantasia can’t even handle 3 shows a week.

My vote is Toni Collette and Lena Hall as I said with an older post