SUNSET BOULEVARD 2024 West End Cast Recording Thread — Page 2

chernjam said: "The freshness and vitality that we've been hearing about the production is reflected already. The orchestrations are so crisp, Tom Francis sounds perfect - cannot wait to hear the full recording (and to see it) ... and cannot believe how great live recordings have come in terms of quality"

I feel the same way. The other recordings of the title song never had this sense of urgency or vibrancy this track does.

Updated On: 9/21/24 at 06:15 AM

iluvtheatertrash said: "I don’t get it. Saw it in London and hated it. The track confirms for me that he’s a big reason why. He is so beyond bland, hanging on consonants, very speaky. Where’s that rich tenor sound? I don’t get it."

Which I think goes to prove that theater, as we all know, is full of subjectivity. Because quite honestly, I think his performance is good, and he has a good voice, but it doesn't make me forget the original renditions of it either.

I know he won the Olivier, but based solely on the Olivier performance my jaw didn't exactly drop while watching it. Just because he's strolling around in a chic, dark suit, camera following him into the theater doesn't necessarily take it to another level for me. Even though apparently that's how it is staged in the actual musical? I'll have to see it to have a better grasp on the overall impact. As others have noted, in context it is seemingly very effective. But for me, in a vacuum, outside of the musical itself, I don't find his vocals and interpretation of the song, alone, off the charts.

Based on the clips I've seen of the West End production, and the photos that have gone along with them, it's clearly done in a much more modern, provocative way. Dark. Minimalistic? Very tech-oriented with cameras, etc. It sounds amazing actually.

But IMO I don't think using this very different approach as a way to "crap" on the original, which is now four decades old and was done at a time when many (most?) musicals like this were still very traditional in scope, is completely fair either.

I think it's okay to appreciate both. And I think it's okay to prefer one over the other.

The original was a musical, for its time. And I remember that even back then there were those who didn't see it as their favorite ALW musical anyway.

But some of us enjoyed it. I saw Patti in London, and Glenn and Betty, in LA and on Broadway respectively. And enjoyed them all for their own unique contributions.

Now that being said, were the original iterations of this particular song landmark, tour de force performances for the actors who performed them? No.

But this actor's rendition didn't exactly knock me over either as tour de force, nor did it make me forget hearing this song for the first time, compliments of the other actors who performed it.

As for the song, is it deep? No. But is it horrible? Nope. Not IMO. But then again, here comes the subjectivity again.

Having grown up in Southern California, surrounded by the industry, I thought the sounds and the music in the show overall captured the feel of old Hollywood in many, very moving ways.

And I thought the lyrics to this particular song, while "horrible" and laughable to some, also captured the moody, fickle, vapid nature of the industry out here and provided some simple insight into what it takes for some to "make it" out here. No one is claiming it to be the most provocative, spellbinding song the the theater has ever seen. But it had its place in a musical that shows how vain and vapid Hollywood can be. Smoke and mirrors. Fantasy. Shallow.

After all, as was noted in Cy Coleman/David Zippel's City of Angels: "LA, truth to tell, is not much different than a pretty girl with the clap."

Updated On: 9/26/24 at 02:54 PM

Dylan Smith4 said: "I was at MusicalCon in London today, and they offered exclusive first listening to the album. I got to hear Scherzinger's "With One Look" and "As If We Never Said Goodbye." I was in tears. The staff said I was one of the first of the general public to hear it. If you have not seen the show yet, y'all are not ready for this album!"

I can''t believe that I pre-ordered a physical copy of the CD's MONTHS ago... I originally thought that meant that I would get it earlier or there would be some exclusive thing for doing so... only to realize no - I got nothing for doing that and already subscribe to Apple Music so will probably be able to stream it before it even arrives in the mail. And yet, I don't even care because I can't wait for this :D

Updated On: 10/23/24 at 10:29 PM

Was this meant to be released tomorrow? I can access Apple Music from a different Timezone and would normally see it by now. Usually if I can’t it’s because of delays.

It's on YouTube right now. You need to set your VPN (if you have one) to a country where it's passed midnight. I set mine to New Zealand and was able to listen to a few tracks. Wow! Just WOW!

Ok it’s on Apple Music now too in relevant time zones. I’ve briefly listened to surrender/with one look/and if I never said goodbye. Nicole’s vocals have been very well captured and the audience reactions are exciting too. I was afraid that it would sound fake or autotuned or light compared to the live performance but it really sounds amazing. Grammy award next?

Jay Lerner-Z said: "If the score is so bad and cringey, why did J Lloyd pick SB as a project? Why would anyone get excited for this audio recording?"

He clearly likes the score (as many of us do) and saw potential in the material for this type of production. Pretty simple.

QueenAlice said: "Jamie Lloyd does everything in his power to distract us from the actual quality of the material, which is one of the reasons why his production is so brilliant."

I guess I really should have included this quote, which is what I was replying to.

I’m excited for this too.

Now WHICH actress is he going to torture/propel to stardom as Eva???



Not me wishing it was Nicole….