Sunset Boulevard Revival Broadway Thread — Page 13

RogerMoore said: "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.



"

I too was curious about it, did some searching on YouTube and...

https://youtu.be/B_sHCNCbuA4

You can see it at around 1:05:00 and how it looks afterwards too

Mike66, My comment wasn't directed towards you. If you read my prior post, I was actually taking up for you when the other poster made note of your improper spelling.

Updated On: 2/5/17 at 02:42 PM

We just stopped by the box office and was able to get rush tickets for $42!!! This is for tonight's show! :) Seats are rear mezz.

I also rushed today for this evening's performance. Arrived at the box office around 2:30 and opted to sit in the mezzanine after being given a choice between rear mezzanine and balcony seats. I was surprised to find a line at the box office of about 10 people trying to get tickets for various performances. Hope this is a good sign that sales will continue to improve.

I too saw the show on Thursday night, and had a lot of thoughts about it. Back in the day I saw The Original production at least six or seven times, with all the major leading women who played the role in both London and New York. This was actually my first time seeing the musical since then, so it was fascinating to revisit it. As others have described, this is indeed a fully staged production, albeit one with the orchestra quite literally at the center of things, giving great emphasis to the music as this production's (other) central star.

I thought Lonnie Price, for the most part did a commendable job of rethinking the material, though I personally did not like the ghost Norma, which to me is just classic director not trusting the material. I actually thought it was used in such a way that took away moments from Glenn Close, and that is really quite unforgivable since she is the big event here.

it was remarkable watching Close revisit this role 20 years later, and she is still fabulous. It's a softer portrayal, definitely less scary and intense but more vulnerable with age. The voice is not what it used to be, and in truth it was never much of a voice to begin with, which is only a problem given that the music seems to be the center focus of this production. but I think I and the rest of the audience were glad to forgive that to see such a consummate artist working her stagecraft.

The rest of the cast, I thought, was fine if not spectacular and I guess I would also have to vote that I'm not sure why they brought everyone over from London, with what I'm sure must've been a great added expense.



Others have mentioned that without the over-the-top original physical production this staging gives more focus to the musical itself, which I agree with. I find that both a good and a bad thing. Trevor Nunns production also masked a lot of the musicals flaws in it's lush presentation. With the focus so much on the script and score here, I actually came away thinking a lot less of both of those things.

But I guess at the end of the day, as it was 20 years ago the musical exist pretty much to be a showcase for it's leading actress. As such it delivers, and there was a part of me that couldn't help dream casting as I watched, imagining other great ladies of the theater who might potentially step into Glenn Closes shoes.

Updated On: 2/4/17 at 06:55 PM

Just got back from the Saturday matinee performance. I've seen Sunset at least 10 times - 8 times on Broadway with each of the Normas (including Karen Mason) and the US tour with Petula Clark twice. Brought my mom with me today who saw it with me 22 years ago for the first time, across the street from the Palace Theatre where it now resides.



I must admit I was absolutely -and surprisingly - blown away by this entire production. If you search through these boards, you'll see I've been doubtful that Close would be able to vocally do this score any more - and was very much in favor of finding another "name" to star in this. Very happy to eat my words.

Wow... All I can say is that was an absolutely legendary performance. And a completely different take then I saw 22 years ago. Previously, you got this sense that Norma was this arrogant, delusional woman. This Norma is a vulnerable, fragile, hurt soul - who desperately believes "with one look I can break your heart" - because if she doesn't believe it, she really has nothing left. In all the times I've seen Sunset, this was the first time I can say that I was moved to tears three times -- during With One Look; during The Perfect Year and when Hogeye spotlights her.

Random thoughts:
- Young Norma/ghost - to me, this is what added to Norma's vulnerability. The sight of the innocent, young, Norma and the old Norma desperately looking to her (as well as Max) was very effective. Like others, with the previous reports of this, I thought it was going to be a distraction, but honestly, in the scene like "The Perfect Year" - it made the moment all the more tragic and heart wrenching.

- I couldn't disagree more with numerous people's dismissing Michael Xavier. Hands down the best Joe I've seen - vast improvement over Alan Campbell. Vocally he reminded me of a better sounding Kevin Anderson and thought he was terrific.

- Max and Bettty (sorry dont have the playbill in front of me to get the actors names) were terrific. Max especially - what a stellar voice and has the Max presence down.

- The entire production really humanizes and makes all of the characters much more vulnerable. The effect is incredibly moving.

- Oh and that orchestra. W O W. I have never heard an orchestra that size before. From those first moments of the prologue, you felt engulfed by the music. I hope this starts a trend because that's just a whole other dimension that seems to have been lost in this era of cost-cutting/digitizing/etc.

-- Oh and as I was standing in the aisle looking around the auditorium trying to see if ALW was in the audience during Intermission, who walks down the aisle but Lonnie Price. I recognized him (one of the few in the area who did) and just said "Mr. Price congratulations." He stopped and said "Oh thank you so much, what's your name?" After I told him that I introduced him to my mom and explained "Mom, this is the director" to which she said "My son and I saw this 22 years ago with Glenn Close and this is even better than it was" - he seemed genuinely appreciative of that, as well as when I said "she just stole my line". He couldn't have been nicer as he said "I hope you enjoy the Second Act just as much"

Mr Price... we did.

Will definitely be stopping by to see this again.

You were higher on the show than me chernjam, but I agree with you that the trade-off moment from the present to young Norma in "The Perfect Year" was an effective use of the device. I thought that image, having Close isolated in such a blissed trance while her younger self dances with Joe, was strangely moving and said a lot about what this "relationship" actually is for her.

Singerunlimited - she's scheduled for every performance. Particularly on a Friday night - you'd rarely see an understudy unless there's an illness

Looking for some help -

Does anyone remember what article Lonny Price (I think) talks about each of the characters of Sunset and what it is they're each holding onto/ afraid of loosing. I've been searching for it for a good hour and was hoping to pass that along to someone

dwirth - saw it this afternoon - didn't feel there was any embellishment on AIWNSG (in fact, she flubbed the lines in it) - and agree with you about the Max/DeMille thing. There was a lot of those little things that really fleshed it out. And I agree that some of those lesser numbers really landed better (Eternal Youth... was another one of those) In the past those felt like filler - but they really felt part of the story

What a thrill, I have never spent $150 on ticket, but I chose to spend big on this show and wow...it was worth every penny.

The production is genius, the orchestra is fantastic, the show is great. Can't get much better than this, all I can say is get to the Palace as soon as you can to witness a legendary performance.

The entire ensemble was great, but miss Glenn Close is a legend and I think her voice sounds basically the same as she did on the Original Broadway Recording. She was SOO much better than when I saw Betty Buckley on Broadway, she really takes the acting to a whole new level. I think she is absolute perfection.

I was also expecting to be very disappointed by Michael Xavier, but he was surprisingly great. But his pronunciation of the word "Boulevard" is still weird, but overall, I was pleasantly surprised by him. He did a fantastic job.

Siobhan Dillon was a bit disappointing unfortunately, because I'm used to the amazing Judy Kuhn, who acts every word, and has a smoky, raspy voice, but then hits soprano notes effortlessly and Miss Dillon couldn't do that, also I feel they could have done something better with her hair, most times you couldn't pick her apart from the rest of the ensemble, and she is one of the main characters.

Fred Johanson was better than the original Max in my point of view. I like the color of his voice better.

And I second what chernjam said, great seeing Nancy Anderson in this show.

Overall, 10 out of 10. As good as it gets when it comes to Broadway. Will re-vist this production I hope.

Updated On: 2/5/17 at 01:15 AM

I think the orchestra gets louder, but no tricks.

As stated yesterday, my friends and I bought rush tickets for last night's show at around 4pm. Our seats were in rear mezz but it was still mostly full-view (can't see the third tier of the stage because of the overhang of balcony but htat's ok given we paid $42 for the seat.

One thing my friends and I were very disappointed about was the usher on our section (left rear mezz). During "With One Look", we could hear him talk to someone who arrived late... then he turned on his flashlight, and proceeded to go down the stairs and told the latecomer where his seat was! It was very distracting and all the more disappointing that he did that during "With One Look" (doesn't he know that's one of the main numbers of the show?!?) He could have waited 2 minutes for Glenn Close to finish that song.

Now I understand why shows like DEH, Fun Home, etc. explicitly state no late comers (or if there are, they'd be seated during intermission.)