Sunset Boulevard Revival Broadway Thread — Page 45

Castestreet, I'm so happy to read about your experience. Thankful you got to see the production!

"This Time Next Year" is a song I truly enjoy. I find the lyrics very endearing and they hammer home the hopes and dreams of the Hollywood gang. I always get into it and its a high energy number giving the ensemble lots of action. I love watching them all separately. They each have some business during the song.

"Too Much In Love" has always dragged the show to a halt for me. It's a necessary number in terms of tracking the story, but so much rides on the chemistry and acting of Joe and Betty. This number is the only chance to cement their connection. This isn't a number you can sleepwalk through. Sadly, it gets sleepwalked a lot.

I agree with muscle that on the recording Judy Kuhn really nails it. Her longing is real, as well as her devastation in the finale. Most actresses can't hit those dramatic heights with so little to work with. Kuhn sells it solely on audio, she's that good.

Ripley was damn good, as was Anita Louise Combe in Toronto. Siobahn is very pretty and serviceable but she doesn't have the acting chops. Brittany, her understudy, was really lovely and acted the role better IMHO. During the New Years Eve party Brittany just studied Joe and gazed at him. You could tell she was smitten. I never saw that with Siobhan.

chernjam said: "...in the much maligned 2nd US Tour - that was the first time I saw the scene "work" because there was so many neat little things that made it more playful as Joe and Betty were playing on the set and ended with fake snow falling as the song ended on a soft harmonic note (rather than the big, loud "TO CARE" that usually ends the scene."

For me, "Too Much In Love to Care" would fall flat without the big note at the end, as it takes a long time to build up to that point musically.

chernjam said: "Have you heard that variation before Lot? I'm looking for it... kind of found it intimate the way it was performed"

No, I haven't.

Well at least Patti doesn't hate Glen anymore (can't say the same for ALW)

http://www.bravotv.com/watch-what-happens-live-with-andy-cohen/season-14/episode-84/videos/patti-lupone-on-glenn-close

10086sunset said: "I still think ALW made the right call.

Nothing personal against Miss LuPone, Glenn was the better fit.

"

Gotta agree with you on this 10086 - I think in the euphoria after how Patti did at the Sydmonton workshop vocally, they didn't realize the difficulty it would take to bring that to a huge stage/theatre. He most definitely should never had signed her to a contract for both London and NY. But at that point the hubris was pretty big. The original plan was for Patti to open London; Three months later to open LA and then three months after to open NY.

CT2NYC said: "In case you missed it, here's a link to today's LIVE WITH KELLY & RYAN, featuring a great interview with Glenn Close. Her segment starts around the 19:00 mark. What a cool lady, and a real class act!

https://youtu.be/Nwcjy3V5ba8"

"We don't like the rules!"

CT2NYC said: "In case you missed it, here's a link to today's LIVE WITH KELLY & RYAN, featuring a great interview with Glenn Close. Her segment starts around the 19:00 mark. What a cool lady, and a real class act!

https://youtu.be/Nwcjy3V5ba8

"

Glenn said: "I've been fighting a cough all week"

And the producers collectively hold their breaths and send for Halls lozenges :)

chernjam said: "Well at least Patti doesn't hate Glen anymore (can't say the same for ALW)

http://www.bravotv.com/watch-what-happens-live-with-andy-cohen/season-14/episode-84/videos/patti-lupone-on-glenn-close"

"I don't have a lot of show business friends."

I'm not surprised. The woman has an undeniable vocal talent, but she always comes across to me as egomaniacal, uncouth, and sometimes even unprofessional. She must be a real pill to work with.

chernjam said: "As much as I love this new revival - it's pretty neat to see other productions. I've seen clips from the Dortmund Opera production before (they have a pretty cool trailer for the musical) - but just found this, a professional shot of the finale: https://www.youtube.com/watch?v=emrQ8WGSyXo"

Well, that was certainly...different! The set and costume designers clearly departed from the original vision (why would you bother to construct the staircase but not include the banister, and what on earth was she wearing?). I think Ms. Douwes has a great voice, but the production design was downright bizarre.

I chatted w/ her at the SD, and she said she only learnt that she was going to play Norma around 1:50ish. So kudos to her and all other swings to perform under such high pressure!

She may not be as amazing as Glenn, but I do think she gave a moving and memorable performance, not only as an understudy, but also as a lead! Nancy definately followed Glenn's track, but her interpretation is slightly different. Her Norma is meaner and more of a control-freak. Her voice sounds younger than a 50-year-old woman, but I'm also very used to Glenn's performance, so maybe only I felt so. The audience were applauding as usual, maybe except for the Norma entrance scene and Norma got spotlighted scene, I would say Nancy got as much applaud as Glenn. However, Michael is having a serious foot injury and limped the entire time. He tried to hide by striding a lot, but when he went up and down the stairs, he had to hold on the stair handrail sometimes to keep balance.

I hope he and Glenn get better soon and have a nice two-days off!

Really hoping some recordings of Nancy surface. So upset this happened today, as I just saw the show Friday night and just left NYC this morning!! If anyone has any recordings please share!

I decided literally last minute and after my schedule being completely switched up today, to see the show for a 2nd time. I saw it back during it's first week in February...thoroughly enjoyed it then.

Despite the obvious flaws, I really do enjoy this musical and wanted to re visit the material again, and ofcourse see Glenn in her return.

I heard Nancy was going on before they made any announcements to the BO crowd or the line that formed just after. I pondered for a moment, as Glenn in this role is very special, but I decided that I wanted to see Nancy in the role to see another actress in the part.

Well, I am SO GLAD I DID. Overjoyed.

I know she is a seasoned pro, however, I can imagine the nerves let alone in front of a Mothers Day crowd. That woman walked down those steps and carried the show like she had been doing the role for the past six months. There was not one moment, not for an instant, where I thought it could have been stronger or that I was witnessing a performance in the early stages (as you might see ones work evolve from previews to deeper into the run..). As an understudy, I know she has to follow the staging and track (as another poster mentioned previously) but Nancy made it her own within the Norma Desmond "blue print" of mannerisms and gestures. Not one movement felt false, nor did any lines or emotions remind me of Glenn. Nancy owned it.

I will not specifically compare Apple's to oranges. No one is haunting and vulnerable like Glenn and her master class acting guides her in the singing department, as she has a nice voice. Nancy, of course, blew the roof off the theatre when appropriate while nuanced and lovely with her Broadway vocals. She sang the score beautifully. Reminded me a bit of Debra Byrne from the original Australian production.

Her Norma was direct, eccentric, and a demure lady. Throughout the progression of the show as the character begins to unhinge, leading to the end...she slowly yet timely descended to "that place" giving us a fully fleshed out and thoughtful journey, from beginning to end.

Each time she laughed or seemed joyous, I saw a regal and dignified woman, with a fragility of a young girl, looking to be loved and wanted on many levels. Different kind of vulnerability from Glenn's and all the more special to witness. All the more tragic, that Norma was tossed aside in Hollywood at a younger age. I felt from Nancy that her Norma was not someone who felt as if she was "over the hill" but rather a woman who was on the cusp of the last of her youth.

Her final scene was glorious too. Nancy played the crazy without SHOWING us crazy. It was genuine and felt spontaneous. The anger in the final note was powerful.

Michael has certainly grown in the part, in my opinion and was much more grounded. The ensemble is terrific and the theatrical effects are charming. Orchestra is divine, that goes without saying.

I am so incredibly glad I went. What a special treat to witness.

Updated On: 5/15/17 at 11:24 PM