Sunset Boulevard Revival Broadway Thread- Page 28

[Jane2]

Posted: 3/9/17 at 7:09pm

"I have to agree with muscle on Buckley's vibrato. I watched her performance one time and couldn't bring myself to go back."

Vibrato? Does she have a strong vibrato, like Raul's (which I love), or is it subtle, because I'm not aware of it.

[CT2NYC]

Posted: 3/9/17 at 8:43pm

Betty Buckley's vibrato is strong. It's that trill in her voice that's common in musical theatre, and, generally, will make people either love it or hate it. I happen to think her voice is iconic, but I certainly won't tell someone they're wrong if they don't.

[Jane2]

Posted: 3/9/17 at 9:32pm

I have to listen for it next time I hear her.

[muscle23ftl]

Posted: 3/9/17 at 11:21pm

I guess is subjective, just like art. I don't like the color of Betty's voice. Then again, I love Patti's voice, but I think she wasn't good for this show, and also I loathe her personality, after reading her book and hearing stories of a close friend of mine who worked with her. Then again, Elaine's voice doesn't do much for me. I don't listen to her recording of Chess because I prefer Sunset's Judy Kuhn's version. And I think Glenn's voice is great, but her acting is so powerful, I even forget about her voice to be honest at times, but I think she sounds beautiful.

[Jane2]

Posted: 3/9/17 at 11:26pm

Yes Muscle, it certainly is subjective, and it also is art. Art takes in the visuals as in painting, etc., but it's also the written word, dance, music, and all that stuff!

There are people who are actually affected by other peoples' opinions, as we see so often on this board. Who cares what someone else likes?

[BroadwayConcierge]

Posted: 3/9/17 at 11:32pm

Finally caught the show. Enough cannot be said about Glenn Close and her Norma Desmond. Truly a master class in acting. It was honestly just a privilege to be in her presence in that role. The spotlight moving onto her at the top of "As If We Never Said Goodbye"... I mean, come on. Transcendent. 

The other highlight of this production is far and away Fred Johanson as Max. WOW. What a voice! What a presence! I truly hope he gets a Featured Actor nod come Tony time. I thought he gave an inspired performance.

I wasn't head-over-heels insanely in love with the show or the production themselves, but damn, am I happy I went. Definitely on my recommended list, if just to see Close's brilliance. 

[muscle23ftl]

Posted: 3/9/17 at 11:35pm

Jane2 said: "Yes Muscle, it certainly is subjective, and it also is art. Art takes in the visuals as in painting, etc., but it's also the written word, dance, music, and all that stuff!

There are people who are actually affected by other peoples' opinions, as we see so often on this board. Who cares what someone else likes?

 

"

 

Agreed

 

[muscle23ftl]

Posted: 3/9/17 at 11:42pm

BroadwayConcierge said: "Finally caught the show. Enough cannot be said about Glenn Close and her Norma Desmond. Truly a master class in acting. It was honestly just a privilege to be in her presence in that role. The spotlight moving onto her at the top of "As If We Never Said Goodbye"... I mean, come on. Transcendent. 

The other highlight of this production is far and away Fred Johanson as Max. WOW. What a voice! What a presence! I truly hope he gets a Featured Actor nod come Tony time. I thought he gave an inspired performance.

I wasn't head-over-heels insanely in love with the show or the production themselves, but damn, am I happy I went. Definitely on my recommended list, if just to see Close's brilliance. 

 

"

I agree a 100%, but also the brilliance of the show and its score. The scene of the spotlight is breathtaking, but then again she has other scenes where there are no props, and just her with her faces, her hand motions, the tone of her voice while delivering her lines, the "transatlantic" accent...she is such a perfectionist, and she is one of the stars that I am so happy she became an A-list Hollywood actress, because she really has what it takes to be an artist of this magnitude.

I agree also regarding Fred, his role is a thankless role and he really makes the most of out it. Which Siobhan doesn't unfortunately because her line delivery isn't great and she doesn't have the vocal chops of Judy Kuhn. But as I said before, she is better than Alice Ripley in this role.

But I also loved Mr. Xavier in this role, and the entire ensemble. Nancy Anderson delivers her witty lines with a lot of sass in her ensemble numbers, the same goes for Preston Truman Boys as Artie Green and Paul Schoeffler as Mr. Demille.

Updated On: 3/9/17 at 11:42 PM

[rayoflight104]

Posted: 3/10/17 at 10:38am

Has the 'Let's Have Lunch' video blog series on Broadway.com done by Michael Xavier been discussed on here? Episode 8 - the final one - was a gem.

[muscle23ftl]

Posted: 3/10/17 at 11:22am

rayoflight104 said: "Has the 'Let's Have Lunch' video blog series on Broadway.com done by Michael Xavier been discussed on here? Episode 8 - the final one - was a gem.

 

"

OMG, it was soooo good!

[10086sunset]

Posted: 3/10/17 at 12:33pm

Per Riedel.

Glenn Close is going to extend her run in the successful revival of “Sunset Boulevard.” 

[BroadwayConcierge]

Posted: 3/10/17 at 1:01pm

10086sunset said: "Per Riedel.

Glenn Close is going to extend her run in the successful revival of “Sunset Boulevard.”"

That article is from like a month ago! She's already extended through the end of June

[10086sunset]

Posted: 3/10/17 at 2:12pm

BC, I believe he's referring to another extension. It came from yesterdays column. Why he linked the article from last month, who knows.

The news can be found towards the bottom of the article. 

http://nypost.com/2017/03/09/liberaces-sordid-life-story-is-hitting-the-stage/

[chernjam]

Posted: 3/10/17 at 4:49pm

10086sunset said: "BC, I believe he's referring to another extension. It came from yesterdays column. Why he linked the article from last month, who knows.

The news can be found towards the bottom of the article. 

http://nypost.com/2017/03/09/liberaces-sordid-life-story-is-hitting-the-stage/

 

"

10086 - I would love that - but my guess is that's Riedel spinning.  If there's another extension coming, I would suspect it would be in LA with that previous rumor that went anywhere.  Sunset has been selling great (in a crowded market) but it's not been a complete sell out that I would expect them to do another extension post June.  Hate to be pessimistic or cynical - because I do love the show so much.  But hate to see them douse expectations as quickly as they raise them,

 

For those of you wanting another recording - I tweeted at ALW, Sunset, Glenn, Siobhan and Michael - and got at least one or two "likes" (one from Siobhan),  Maybe if we fans pester them, they might be more apt to recording it anew - especially with that orchestra, (new orchestrations) and the new cast with Glenn...

(if they do, they need to record the instrumental bows of "AIWNSG"

[djoko84]

Posted: 3/10/17 at 10:23pm

Went last night. The score is ok, but Glenn Close is still glorious. It's worth it just to see her in it. She got a standing ovation after "As If We Never Said Goodbye." 

[muscle23ftl]

Posted: 3/10/17 at 11:41pm

djoko84 said: "Went last night. The score is ok, but Glenn Close is still glorious. It's worth it just to see her in it. She got a standing ovation after "As If We Never Said Goodbye." 

 

"

I don't agree...the score is not just "OK" I think "glorious" or "heavenly" work better for me :)

[chernjam]

Posted: 3/11/17 at 2:02am

Lot666 said: "...
But make no mistake, I am quite keen to see the revival and will be there this Wednesday and Thursday evenings, back to back!"

 

So Lot666 - Come on - how was it for you?????? :)

[Jane2]

Posted: 3/11/17 at 8:58am

Muscle said "don't agree...the score is not just "OK" I think "glorious" or "heavenly" work better for me :)"

Totally agree. This was one of the best scores I ever heard. Rarely do I love a score on first hearing.

[CT2NYC]

Posted: 3/11/17 at 10:38am

SUNSET BOULEVARD has my favorite ALW score, just edging out EVITA and PHANTOM. It's the most cohesive, as well, every song perfectly evoking "old Hollywood." The orchestration of "The Greatest Star of All" is one of my favorite melodies from any musical, ever. I got chills (and almost started crying) when I heard the overture played by that magnificent orchestra.

Updated On: 3/12/17 at 10:38 AM

[muscle23ftl]

Posted: 3/11/17 at 12:02pm

Jane2 said: "Muscle said "don't agree...the score is not just "OK" I think "glorious" or "heavenly" work better for me :)"

Totally agree. This was one of the best scores I ever heard. Rarely do I love a score on first hearing.

 

I love that that happened to you. I actually didn't really like the score when I saw it on Broadway in 1995 with Buckley. To begin with, I dislike her voice. I remember Alan Campbell was amazing in it, but then between Buckley and Ripley, they kinda ruined the show for me. But I also didn't really care for the score. I remember I knew "With One Look" and "As If We Never Said Goodbye" because I had Barbra's "Back To Broadway" recording, and I remember a British singer called Dinah Carroll used to sing "The Perfect Year" and made it to the Eurochart with that song and I knew the melody. But then it took me many listens to get into the score...and of course when I saw this revival I knew every line, even the spoken ones...haha. But it makes it even more enjoyable. 

 

Updated On: 3/12/17 at 12:02 PM

[chernjam]

Posted: 3/12/17 at 12:22am

muscle23ftl said: "Jane2 said: "Muscle said "don't agree...the score is not just "OK" I think "glorious" or "heavenly" work better for me :)"

Totally agree. This was one of the best scores I ever heard. Rarely do I love a score on first hearing.

 I love that that happened to you. I actually didn't really like the score when I saw it on Broadway in 1995 with Buckley. To begin with, I dislike her voice. I remember Alan Campbell was amazing in it, but then between Buckley and Ripley, they kinda ruined the show for me. But I also didn't really care for the score. I remember I knew "With One Look" and "As If We Never Said Goodbye" because I had Barbra's "Back To Broadway" cassette (I bought it for a bargain, CDs were already a thing back in the 1990's), and I remember a British singer called Dinah Carroll used to sing "The Perfect Year" and made it to the Eurochart with that song and I knew the melody. But then it took me many listens to get into the score...and of course when I saw this revival I know every line, even the spoken ones...haha. But it makes it even more enjoyable. 

 "

Jane - have to admit - that was my first reaction 24 years ago!  I happened to find the World Premiere Recording from an import CD store for only $30 (Colony Records in NY was selling it for $100 since it wasn't due for an American release for months...) The first moments I heard the sounds of that ominous, mournful but lush overture, I sat,and simply listened for 2 hours to the entire score, before starting all over again.  24 years later, I never tire of this score.  Just absolutely beautiful.  Only hope we can get a new updated recording

[Jane2]

Posted: 3/12/17 at 10:32am

That would be great! I can't help but think that maybe the orchestra's being on the stage had something to do with the quality this time.

[Lot666]

Posted: 3/12/17 at 2:53pm

chernjam said: "Lot666 said: "...
But make no mistake, I am quite keen to see the revival and will be there this Wednesday and Thursday evenings, back to back!" 

So Lot666 - Come on - how was it for you?????? :)"

Sorry, I can't type more than a few words in the BWW mobile app, had to wait till I got home for computer access. 

For the March 8 evening performance, I was in the front row center aisle seat (row AA, seat 102). This is much too close to the stage and is only beneficial in that you can see the performers' faces very clearly. I don't think the first row of the orchestra should be sold as "Premium Seating"; the Palace Theatre stage is very wide (reminded me of the Gershwin) and I found myself continually scanning from side to side to take everything in. Also, the projections are very difficult to discern at such close proximity and the sound mixing is less than optimal (the voices are not sufficiently out in front of the soundstage created by the audio system). For my money, this seat was not worth $299.

As some of you may recall, I had some reservations about Mr. Xavier because I do not care for the way he pronounces/sings the words "Sunset Boulevard" in online videos of the title song. I won't say that this is not true of his live performances, but it was less "offensive" (less noticeable?) to my ears and overall I think he did a very nice job. I particularly liked the way he delivered many of his recitative and spoken dialog bits, as he made Joe's words flow more naturally than Alan Campbell did on the L.A. cast recording (Mr. Campbell often sounded to me as though he was playing a vintage film gangster). Xavier's combination of emphasis, enunciation, and facial expression diminished, and in some cases eliminated, the occasional awkwardness of the lyrics and dialog written by Mr. Black and Mr. Hampton. I do agree, however, with those who felt that he leans too far toward the comedic. This approach works well through most of act one, as Joe meets and gets to know Norma, but a full realization of the situation in which he has become embroiled arrives with his telephone call to Max on New Year's Eve, and by this point he should no longer be laughing. 

Ms. Close is unquestionably a "great star", but her performance on the evening of March 8 fell short of her abilities. She seemed to be consciously restraining her attempts at any big notes because she didn't think she would succeed, and in the few instances when she tried, her voice either cracked quite noticeably or she fell off the note very quickly (she was quite wide of the mark on the final note of "With One Look", both in the first act and in the reprise at the end of the show). This is not to say that I believe Norma's singing should be perfect, or even great; on the contrary, a strong, melodious voice would seem contradictory for a character who declaims that she doesn't need words because she has a face (as an inverse, consider a Christine in Phantom who can't hit the required notes). Whatever her shortcomings on this particular evening, the audience adored Ms. Close and their response was impassioned from her very first appearance on the staircase. 

I was very pleased with Mr. Johanson as Max. He is fiercely protective and has the requisite bearing to intimidate and even threaten (You're Miss Desmond's German Shepherd?) whenever Norma is in any way disrespected or imperiled. Although he would benefit from just a little more power in his upper range, Johanson's performance of "The Greatest Star of All" was otherwise very moving and one of the highlights of the show for me. I also very much liked how, at the end of the "chimp's last rites" scene, as Norma fell onto the casket and wept, both of his white-gloved hands shot out to grasp her shoulders and then stopped short at the last second. Johanson plays Max with an unquestioning and bottomless love for Norma, and he demonstrates his character's true feelings through innumerable subtle gestures throughout the show.

Ms. Dillon is lovely as Betty, but somehow never manages to stand out. Although I found no fault in her performance, she had no definitive "moment" similar to Johanson's "The Greatest Star of All". This character's one and only chance to shine is when she and Joe finish their script and take a stroll through the backlot. In this production, the backlot scene seemed more verbose than on the L.A. cast recording, with lots of spoken dialog before they finally sing "Too Much In Love to Care" (was that dialog always there, but cut from the recording?). I was also expecting more discernible heartbreak and tears in the final scene, when she tells Joe than she can't look at him anymore and runs from the house.

I thought the ensemble was very strong in their big production numbers, with the endearing Katie Ladner being a standout. Paul Schoeffler was impressive as DeMille in his reprise of "Surrender" at the end of the Paramount scene in the second act.

The car was a surprise! Given the pared-down staging, I was expecting something more akin to a cardboard cutout and was particularly astonished to see it "drive" off the stage, seemingly of its own volition.

I went to the stage door after the show, where the entire cast was very gracious. The ensemble came out first, followed soon after by Fred, Preston, and Siobhan. When they had left, a security announcement warned that photographs of Michael and Glenn were allowed, but selfies were not. The two stars then came out together, with Glenn's dog Pip literally in tow. Michael expressed to the crowd how grateful they were for the response to the evening's performance (If this was a Saturday, maybe, but we can't believe this is a Wednesday night! You never get a reaction like this in London!). They happily signed for everyone; when I thanked Ms. Close for her time, she replied, "No, no - it is we who should be thanking you for making this possible". After she had left, Michael stayed on a bit longer and began taking selfies with people, the security announcement notwithstanding. When I voiced my surprise, he assured me that it was fine and invited me to take a picture with him.

March 8 Performance: ****

-----

For the March 9 show, I was in row E, seat 111 (house left). This perspective was a dramatic improvement over the front row and was one of several aspects of this performance that made it notably better than the previous. All of the projections, both on the screen at the front of the stage and on the back wall/set surfaces were much clearer and helped carry the story. 

Such minor improvements aside, the real difference from the previous night to tonight was in Norma. It was clear from early on that Ms. Close was, for whatever reason, up to the challenge tonight. She sang "Surrender" in almost a whisper, but then sprang to full life for "Once upon a time, not long ago..." and went on to deliver a top-notch performance of "With One Look", which garnered her first standing ovation of the evening (eschewing truthiness, her voice did crack on the last note, but this was arguably her only miss in the entire evening and she more than made up for it later).

When Norma paid her visit to Paramount in the second act, Ms. Close had the entire house in the palm of her hand. As Hogeye's spotlight hit its mark, her face collapsed like a dam giving way to a river. Overwhelming emotion mingled with tears and seemed to pour down the entire front of her. Just when the audience feared she might succumb, Ms. Close pulled herself back from the brink as she began to reason, "I don't know why I'm frightened, I know my way around here". Norma's eventual realization that she'd "come home at last" was one of ineffable joy and there was indeed "magic in the making" all around her. Many in the audience likely expected that this penultimate moment would be the highlight of the evening, and the resultant spontaneous and interminable ovation had to be overtly interrupted by Ms. Close herself in order to allow the show to resume. Norma wasn't done yet.

From an acting perspective, Ms. Close's face in the aforementioned spotlight was arguably the defining moment of the show. Vocally, however, she had yet to play her ace; that came in the final scene. After uttering her immortal line (And now, Mr. DeMille, I am ready for my close-up), Ms. Close seemed to draw on some previously untapped reserve as she launched into her reprise of "With One Look". As she built to the final, "With one look, I'll be...", I found myself rooting for her to blow the roof off the Palace Theatre.

And that's just what she did.

She hit that "...MEEEEEEEEE!!!" and held it all the way until the orchestra brought the note to its full and proper finish. With one note, she was Norma. The curtain plummeted behind her, the theatre went black, and the audience blew up. 

During the interval, I had learned from the couple seated next to me that they were visiting from Ohio and this was their first-ever Broadway show. As we leapt to our feet, I turned to them and said, "I'm sorry, but you picked the wrong introduction to Broadway. After that, it's going to be all downhill."

March 9 Performance: *****

Updated On: 3/13/17 at 02:53 PM

[phan24]

Posted: 3/12/17 at 3:05pm

@Lot666, I am living for your descriptions! I was there 2 weeks ago and NEED to go back.

 

The way you described her face after the spotlight hits her is just how I remember it, and the definite moment of this revival. THIS is how she has matured as an actress. In the original production (from various videos even of other actresses), they act this moment with pride and seem to be very stoic and getting ready for the big song, but Glenn Close retreats in her tears and visibly clinches her face to then deliver the best performance of that song I've ever seen.

 

Hers is one of the best (most likely the best) live performances I've ever seen.

[Lot666]

Posted: 3/12/17 at 3:16pm

phan24 said: "@Lot666, I am living for your descriptions! I was there 2 weeks ago and NEED to go back."

Glad you enjoyed it.