Sunset Boulevard Revival Broadway Thread- Page 13

[LxGstv]

Posted: 2/4/17 at 2:13pm

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

[BrodyFosse123]

Posted: 2/4/17 at 2:22pm

I described in detail where and how the levitating sequences were used in the original production a few posts above.  

[ArtMan]

Posted: 2/4/17 at 2:42pm

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

[LxGstv]

Posted: 2/4/17 at 3:11pm

BrodyFosse123 said: "I described in detail where and how the levitating sequences were used in the original production a few posts above.  

 

"

I saw it, thank you, it just made me wanna see it in action even more though!

[Wick3]

Posted: 2/4/17 at 5:34pm

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.

[boonanas]

Posted: 2/4/17 at 5:40pm

I rushed today's matinee 10 minutes before curtain, got obstructed view box seats on the left, so I moved to one of the many unsold balcony seats

[OriginOfLove530]

Posted: 2/4/17 at 5:54pm

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.

[BrodyFosse123]

Posted: 2/4/17 at 6:00pm

Scored Orchestra Center Row H for Tuesday night.  Saw the original production several times during its run at the Minskoff as well as the 1st Nat'l Tour (which recreated the Broadway production) so I'm going with an open mind and enjoying this incarnation for what it is.  Not expecting anything.  Just going to see SUNSET BLVD at the Palace.  Nothing more; nothing less.  

[QueenAlice]

Posted: 2/4/17 at 6:55pm

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

[Auggie27]

Posted: 2/4/17 at 7:38pm

In the early press in London, Close said she thought she was singing the score better than she had before. Does she perhaps mean she's landing the songs as an actor with even more character-specific authority? I've been very moved by the many posts here which note her voice's (momentary) limitations but find it persuasively in character.  One of the earliest reviews, perhaps Frank Rich's, made mention that the role presented such vocal demands, many wonderful Normas might be excluded. That was in the LuPone first year.  Irony duly noted, perhaps Close has definitively proven: it's a role for an actor who sings. She did tell Kathy Lee and Hoda that the New Years song has been lowered, but only because its more Norma in the key switch.  She seems entirely pleased with her work, and thus the move to NY, obviously. Sometimes, confidence is especially critical to a performance, and Close knows the nooks and crannies of this musicalized Norma better than anyone. 

[chernjam]

Posted: 2/4/17 at 9:33pm

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.

[masqphan]

Posted: 2/4/17 at 9:45pm

I was in M4 for my seat.  Joe's apartment you will not see at all but you'll be in a great spot for all of Norma's parts in the show.   Enjoy.

[Scarywarhol]

Posted: 2/4/17 at 10:05pm

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]

Posted: 2/4/17 at 10:46pm

I am seeing the show next Friday night, February 10. Does anyone think Glenn will be out, as it is the night after their opening?

[chernjam]

Posted: 2/4/17 at 11:10pm

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

[Scarywarhol]

Posted: 2/4/17 at 11:11pm

No, but i'm eagerly awaiting a chance to see Nancy Anderson do the role. 

[chernjam]

Posted: 2/4/17 at 11:12pm

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]

Posted: 2/4/17 at 11:52pm

Saw the show tonight from mid-mezz ($79 w/"MAIL" code) - great seats for the $.  Background: Saw original multiple times: Paige in London, Carroll in Toronto, Balgord on 1NT, Petula in reimagined tour - and certainly have "seen" most other Normas in whatever way one does that... I love Sunset...

Overall, a very nice production - with some lesser numbers, like "This Time Next Year" landing better than ever in this staging - and most of the abstract set/staging working well.

As another poster stated above, I was expecting the worst of Michael Xavier - but he was terrific - with Fred Johanson as Max also surprising vs expectations - though there wasn't an option who was less than 30 years younger than Close?

Didn't know Siobahn Dillon (Betty) before, but WOW was she good - and, as a Brit,  had the American accent down almost perfectly. I may start a fan club (my wife may not like that...)

Nice to see the talented pro Nancy Anderson make the most of her ensemble parts - same for director Lonny Price's Merrily mate, Jim Walton, also in the cast. And even the actor playing Artie, usually a throwaway part, Truman Preston Boyd, really stood out.

As for Ms. Close: Simply put, still not sure..Glad to have seen her, and the audience LOVED her - but always felt her lack of REAL singing in the OBC hindered her take vs others, like Paige, who gave, to me, the best lead performance I have ever seen, with her golden voice elevating it. Now, Close struggles more, vocally - and not sure whether to feel a bit sorry or write it off as part of Norma's faded glory.. But, again, glad to have seen her. 

Three last things.. 1) the fans in audience ruined a few moments with early applause ("I am big..." - 2) If you see it, take special note of the Max/DeMille moment after "As If We..." 3) My wife swears the Close vocals were embellished at the end of ,""As If We..".. could that possibly be?

 

[chernjam]

Posted: 2/4/17 at 11:59pm

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

[GreasedLightning]

Posted: 2/5/17 at 12:01am

chernjam, I universally echo ALL of your thoughts! I thought the show was just fantastic all around, especially Xavier and the orchestra. 

What a special moment meeting Price. So glad you and your Mom had that experience! 

[muscle23ftl]

Posted: 2/5/17 at 1:15am

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

[Scarywarhol]

Posted: 2/5/17 at 2:03am

I do not believe that there was any sweetening of Close's vocals at the end of "As If..." but at first preview it sounded as though they cranked the levels on her very loud on the tail end, practically demanding the applause after "I've come home at laaaaaaast."

Updated On: 2/5/17 at 02:03 AM

[muscle23ftl]

Posted: 2/5/17 at 2:11am

I think the orchestra gets louder, but no tricks.

[bwayphreak234]

Posted: 2/5/17 at 8:35am

I'm seeing this today, and I can't wait! 

[Wick3]

Posted: 2/5/17 at 9:11am

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.)