Sunset Boulevard Revival Broadway Thread — Page 12

They also had a magnet and key chain, It is rather large and is the Sunset Blvd street sign in brass/gold

Sounds very tasteful

Updated On: 2/4/17 at 03:05 AM

It's a bit bizarre that anyone would be annoyed or surprised that it's a staged concert, they've been very open about it and a simple google of the London reviews would reveal that.

Also it's no secret that Glenn Close owns all of her original costumes and wears some of them during the show.



i can't believe they still have the dead Joe hanging throughout, that's a spectacularly bad idea that should have gone after the first preview. Not the idea itself but the fact they don't hide it once it's in the air.

I've never seen the original production, but I keep hearing about how the set levitated. Can someone expand on this for me? I know what the word means but how did that come into play within the context of the show?

Also, I would love to see Bernadette Peters or Tonya Pinkins in this role. Won't happen, I know.

The original Napier designs were so extraordinary, they almost -- almost -- dwarfed the show. I've always considered the entire score one of ALW's finest -- even Frank Rich gave him backdoor compliments about the non-Norma material in his infamous LuPone damning review -- and maybe that damned house dominated. When it was remounted with Clark for a big US tour, sans all of that, some people felt the show's inherent intimacy -- it really is just a handful of characters -- was better served. I always felt the Normas' entrance had to compete with the audience staring at the interior or her gilded gage. Now, we just see this woman, as she sings to her dead pet. It's really a case of focus, and I, for one, welcome the chance to let the material shine. And move us.

*Mannequin. The word is Mannequin.

Mike66 said: "GreasedLightning said: "*Mannequin. The word is Mannequin.



"

Yes. But my computer doesn't seem to know that and "auto-corrected me". Who do we sue?



"

I know....like really. I knew what you meant when I read your post. Some people on here just love to point out bs things just to try and prove their superiority.

I've met you in person.......I could say more.

SarasotaVince said: "The floating refers to the interior of Norma's house. The entire set was raised and lowered as needed. If you watch the follow video...at the 26:28 mark you see a pretty good view of the complexity of the set. If you watch the entire video you'll set some of the other sets....in the new production there are no sets as such, just props like desks, tables, chairs...all moved onto stage as needed.

https://www.youtube.com/watch?v=BQR74a4P3nw



"

Thank you for this. Would the action continue on the set as it floated? Is that what the big deal was? Someone mentioned the effect of 'split screen'

Silly plot question about the Glenn Close American Premiere Recording. In "Let's Have Lunch", it seems like Sheldrake buys Bases Loaded from Joe (Sheldrake says, "It looks like Xanax got himself a baseball picture", but then several seconds later, Joe seems like he's begging Sheldrake again ("You've got to give me some work...). I'm assuming Joe just needs more money for his car, but it's confusing to me listening to the recording. Wanted to see what other people thought.



I realize Sheldrake isn't saying Xanax, but it's what it sounds like :)

BenjaminNicholas2 said: "Close not handling the vocals well? The best acted Norma? This IS still a musical, is it not?

Give me Buckley anyday. Thrilling vocals, great acting. Find the actress who can do both well. I don't give Close a pass because she's only holding up half of the deal



Oh no, Betty's voice was not pleasant at all to me. She has that annoying vibratto and the color of her voice is just not that great. She also didn't even attempt to act the final scene like Glenn Close did. She probably knew she wasn't as good as an actress and didn't want to embarrass herself. Elaine's voice also is not my cup of tea, and Tanya and Bernadette would be absolutely awful in this. Thankfully ALW knows that Glenn is the best actress for this role, and even better, she was available and willing to do it again.

Updated On: 2/4/17 at 12:12 PM

I was at the second preview last night and had a positive reaction to this revival; the good definitely outweighs and overshadows the bad, so even a misstep is quickly forgotten five minutes later.

First off, I don't understand how anyone could call this a "staged concert." It's not. When someone tells me "staged concert" I assume the actors will be in evening formal wear seated at chairs on stage. They will come forward to act their scenes and sing their songs (often with books in hand), but the don't expect costumes, sets, choreography, etc. Compared to the Chicago revival (which is also a full production) the Sunset revival is downright lavish. Everyone is fully, often elaborately costumed, there is choreography, plenty of furniture and while the house isn't the gilded beast of the original, there is an extensive series of stairs that run all the way up both side of the Palace stage. The 40 piece orchestra doesn't hurt.

Close is spectacular and the main reason to see this production, well that and to hear the score. She's completely brilliant and seems to be having a blast. Yes she's older and her voice has a weak moment or two, but the feeling and emotion behind it! Wow! I'll argue with anyone here that Callas' best Norma recording is her 1960 recording with Ludwig and Corelli. She may be past her prime, but she has a deeper understand of Norma than in her previous "better" sung recordings and she simply becomes the character like no other after her. This is Close's 1960 Norma recording. It's a triumph and her big numbers are worth the visit to this revival.

The rest of the cast members don't exactly rise to the same level, but no one is giving a bad performance either. Too Much In Love To Care (one of my favorite ALW tunes ever) is great and the best moment for both Betty and Joe. I was never completely won over by Michael Xavier's Joe- he oscillates between slightly underwhelming and decently effective. Despite Max having one of the best songs in the show, the part is underwritten. Fred Johannson cracked on his big note- otherwise he played Max just as I imagine everyone has always basically played the part. There was no new revelation to be found here.

Joe's dead body hanging over the proceedings the entire time was rather silly. Sometimes I forgot about him dangling up there and then it caught my eye again I chuckled. When the body is raised out of the pool at the beginning why doesn't he just keep on rising up out of sight?

The score is easily in my top 3 ALW efforts and it's nice to hear it so richly played.

Whizzer, would love to know your thoughts on the young Norma...

sunset, I didn't have strong feelings either way about Young Norma. Honestly, after reading some of the negative comments about her presence I expected her to be following three steps behind Norma in every scene. Young Norma was used sparingly enough as to not be a major issue- mostly I just felt *shrug* whenever she came on stage. I think we all saw Young Norma through Max's eyes, which makes sense, but that's the reality of her he held onto all these years. It wasn't as silly as when they added Ghost-Skipper to the last Cat revival (he was cut late in previews I believe).