Scherzinger in SUNSET BLVD. Previews — Page 10

I don’t think the monster needs to be fully human to connect with them. The woman murders a man in cold blood. She’s not as sympathetic as some seem to want her to be. You can lament her, poor thing, but she’s ultimately a movie monster not unlike Dracula. Or, more aptly in this production, Nosferatu.

I can understand their plight - it takes a toll having to rely on the blood (or praise) of others just to live - but it doesn’t excuse their ultimately monstrous actions. Your mileage will ultimately vary on if that’s a satisfying reading of Sunset Blvd, but I think it’s perfectly acceptable for what is ultimately a VERY melodramatic and simple story.

ColorTheHours048 said: "I don’t think the monster needs to be fully human to connect with them. The woman murders a man in cold blood. She’s not as sympathetic as some seem to want her to be."

Totally, I think it’s a matter of preference, and not a right or wrong choice.

I just wanted to point out that I’m not going off of what I hypothetically “want” Norma to be, but the actual productions I’ve seen in the past that worked for me. Specifically, I wasn’t very fond of this show until I saw the Kennedy Center production with Stephanie J. Block, who played Norma as quite sympathetic and damaged. It was the first time the play “clicked” for me—I think because I was actually invested in the character and hoped things would turn out differently than the inevitable tragic ending.

With Nicole, I was watching a monster go on a rampage. Fun, but nothing deeper than that. So, I just think this version was never going to align with what I want out of the show.

Updated On: 10/6/24 at 01:21 PM

PipingHotPiccolo said: "Is she a monster when her fragility leads her to self harm?"

Sorry to keep posting, but yes this really stuck out to me. Nicole plays Norma's panic attacks and suicide attempt with no gravity to them. Her panic attack after Joe finishes the script and says he's moving out was played for laughs with how quickly Norma snaps out of it. Yes, Norma is manipulative, but her suicide attempt always seemed like a genuine act of desperation and vulnerability. Here, it felt more like Norma was just using Joe to finish her script, and it wasn't quite clear why she wanted to keep him after that. Removing that vulnerability doesn't square with her becoming so distraught at the end that she kills Joe rather than let him go.

i thought scherzinger played each scene just fine- i saw the fragility moments, i saw the hurt/wounded moments, and i saw the "im a monster here to eat your soul" moments- and nicole delivered each perfectly. but they dont add up to much of a whole. theyre disjointed and haphazard. its not her fault, shes being directed to give us a little bit from various characters, and the production is confident her charisma/voice will carry the day. it almost does!

I'd say this production functions in the way numerous contemporary "auteur" opera productions do. Set "La Boheme" on the moon (it's been done); stage "Macbeth" in an imagined dystopia of the future (saw this in a telecast starring Anna Netrebko); or have "Tristan and Isolde" take place at Trump Tower. In all cases, the words the performers are singing often don't align with what you're seeing. And the current "Sunset" goes out of its way to get rid of as many references to old film stars ("the Fairbanks, the Gilberts, the Valentinos," Hedy Lamarr, Pearl White, etc.) as possible.

ALW would be saying he "always wrote the score with Sarah Brightman's voice in mind" if that was the production with buzz around it.

binau said: "Well I guess she just played the part - did he say that?"

No, because it got bad reviews and no buzz. That's my point. I'm saying he'll ally himself with whatever production is currently getting buzz and critical acclaim and/or making $$$.

binau said: "I see, I agree Ithink you're right he'd say anything if it suited the moment. That said, even if it's marketing BS I do agree with it!

By the way, does anyone know how much this is on at the TKTS board each day? Is it 50%? I've noticed that despite a weak advance word of mouth is indeed picking up and it looks like they will have a strong first week, which I anticipate will continue indefinitely - but they are selling loads of tickets on the day/day before right now!"

Visit TKTS Live and you can view what is offered daily in real time. Right now <i>Sunset</i> is up for 40%. It's a big house. It's going to be on TKTS a lot.

tacotheatrelover said: "Should i book to see Nicole or Mandy in this?

I'm buying the rest of my trip today so I'd like more opinions "


Based on how soft sales look, you could probably walk in and watch both for free.

Are you looking at the Mandy dates because you want to use the TodayTix $20 off offer, and those are only good for a Tuesday? What day is otherwise open for Sunset Blvd? How many tickets? No one has yet seen Mandy's performance. It might be best to use the discount code for Stereophonic and wait to buy Sunset at TKTS.

Edit: When you go home you're going to want to be able to brag a bit & say you saw Nicole.

Edit2: The code Norma1 still works on the Nicole dates in November & if you are buying more than one ticket, it works out the same as the TodayTix offer. The code also works on the cheaper seats bringing even some Mezz searts down to $88

Updated On: 10/7/24 at 07:52 PM

I'm just looking at "should i see one or the other" i have the money for both

I had to knock a day off my trip so what was supposed to be a sunday 3pm mat is now either tuesday or thursday night show

Tuesday the 12th is Mandy, And Thursday the 14th is Nicole

If i do wanna flex i might swap sterophonic for tuesday and Sunset for Thursday

I'll be able to flex the fact that i saw Adam Lambert to most adult's and Auil'i to most other people in my class (high school) since we've all seen the mean girls movie

It's not really about the flexing, it's about seeing different stuff and figuring out finally if this is really what i wanna do in my life

Updated On: 10/8/24 at 12:01 AM

TBone said: "IlThere were a few other things that made me scratch my head:

"Why so much Artie? The close-up of him with the tears streaming down his face seemed a bit much for a character that doesn’t mean very much to us."

To me this is Lloyd's best use of mixing the old with the modern. The tear on Artie's face is a meme. And today's memes are sort of the equivalent of yesterday's silent films, putting across an emotion silently with only image.

I'm, of course, not sure if this was his reasoning, but I got that from that moment right away...