Sunset Boulevard Revival Broadway Thread- Page 49

[Flowerlovestage5]

Posted: 5/25/17 at 11:01am

Anyone gone through TDF yet?

[Lot666]

Posted: 5/25/17 at 11:22am

I would love to have been there for Ms. Close's reading of the photo taker!

FYI though, I did visit the box office yesterday to buy a ticket for this Saturday's matinee without the Ticketmaster fees. I was armed with a few discount codes for orchestra seats at $169, but when I mentioned them the woman behind the window said "I'm authorized to offer you a very good orchestra seat for $99" and I proceeded to purchase J 110 at that price! Not sure why this was, but I believe she'd also made the same offer to the couple in front of me for last night's performance. 

Updated On: 5/25/17 at 11:22 AM

[WithoutATrace]

Posted: 5/25/17 at 11:32am

I went last night via tdf. Orchestra Row M, Seat 1 on the left side. The show was outstanding.

[muscle23ftl]

Posted: 5/25/17 at 11:35am

If anyone recorded that incident...it'd be a huge news story. LOL!

[muscle23ftl]

Posted: 5/25/17 at 11:44am

I think Glenn is a class act, that's how you handle a situation like this, you don't start screaming at the audience "who do you think you are"? over and over. 

[chernjam]

Posted: 5/25/17 at 12:13pm

Lot666 said: "I would love to have been there for Ms. Close's reading of the photo taker!

FYI though, I did visit the box office yesterday to buy a ticket for this Saturday's matinee without the Ticketmaster fees. I was armed with a few discount codes for orchestra seats at $169, but when I mentioned them the woman behind the window said "I'm authorized to offer you a very good orchestra seat for $99" and I proceeded to purchase J 110 at that price! Not sure why this was, but I believe she'd also made the same offer to the couple in front of me for last night's performance. 

 

"

I wonder if that's because of Memorial Day Weekend - it's definitely not a busy weekend in the city

[Lot666]

Posted: 5/28/17 at 2:21pm

I saw the matinee yesterday (my 5th and probably last time) and both Ms. Close and Mr. Xavier changed up their established takes on a few scenes. Joe seemed slightly less comedic and a little more sad and empathetic about Norma, while she was notably softer in her delivery of some lines, and I liked it for the most part. 

Also, at the curtain call, Ms. Close asked for quiet and then announced that, during the recent BCEFA fundraising season, a woman in her 90s had purchased a walk-on in Sunset Boulevard and today was going to be her Broadway debut. She and Mr. Xavier then helped the woman onto the stage and she joined them for their bows!

[chernjam]

Posted: 5/28/17 at 10:37pm

Lot666 said: "I saw the matinee yesterday (my 5th and probably last time) and both Ms. Close and Mr. Xavier changed up their established takes on a few scenes. Joe seemed slightly less comedic and a little more sad and empathetic about Norma, while she was notably softer in her delivery of some lines, and I liked it for the most part. 

Also, at the curtain call, Ms. Close asked for quiet and then announced that, during the recent BCEFA fundraising season, a woman in her 90s had purchased a walk-on in Sunset Boulevard and today was going to be her Broadway debut. She and Mr. Xavier then helped the woman onto the stage and she joined them for their bows!

"

Lot - kind of had similar feelings when saw it last week  The cast has grown so much and the performances are more natural and moving.  Have to get there at least one more time :)

[Lot666]

Posted: 5/28/17 at 11:10pm

chernjam said: "Have to get there at least one more time :)"

I really wish I could (I'd particularly like to see the final), but I don't think it's in the cards. I checked air and hotels for the end of June and it was just too much.

 

[Lot666]

Posted: 5/30/17 at 9:24pm

The Sunset Boulevard Facebook page posted this afternoon that: "Glenn Close will not be replaced - we must end performances on June 25."

[chernjam]

Posted: 5/30/17 at 10:09pm

Lot666 said: "The Sunset Boulevard Facebook page posted this afternoon that: "Glenn Close will not be replaced - we must end performances on June 25."

"

Not going to lie... this saddens me.  
Didn't think it was going to happen... but have loved having Sunset back in NYC.  And doubt we'll ever have it staged like this with such love and care

[Lot666]

Posted: 5/31/17 at 8:14am

chernjam said: "Lot666 said: "The Sunset Boulevard Facebook page posted this afternoon that: "Glenn Close will not be replaced - we must end performances on June 25."

Not going to lie... this saddens me.  
Didn't think it was going to happen... but have loved having Sunset back in NYC.  And doubt we'll ever have it staged like this with such love and care"

I didn't think it was going to happen either, but I was still gutted to see the confirmation.

[muscle23ftl]

Posted: 5/31/17 at 11:36am

I loved chernjam's words. 

[uncageg]

Posted: 5/31/17 at 12:43pm

Was thinking about catching the matinee today.  Somoneone told me Ms. Close has had vocal issues recently. Was she sounding fine over the weekend?

[Lot666]

Posted: 5/31/17 at 12:48pm

uncageg said: "Was thinking about catching the matinee today.  Somoneone told me Ms. Close has had vocal issues recently. Was she sounding fine over the weekend?"

I was at the matinee on May 27 and she sounded the same as in the previous performances I've seen. Her singing voice is not her greatest strength and she's 70 years old, so don't go in expecting a belter.  The show is brilliant and any vocal shortcomings she may have are easily forgiven.

[uncageg]

Posted: 5/31/17 at 1:01pm

Thanls Lot666. Am aware of her vocal range. Just heard she was having issues. Sounds like she is fine now.

[Lot666]

Posted: 5/31/17 at 2:22pm

uncageg said: "Thanls Lot666. Am aware of her vocal range. Just heard she was having issues. Sounds like she is fine now."

I believe she was out sick for one show the previous week.

[chernjam]

Posted: 6/1/17 at 8:15pm

Andrew McBean posted something on YouTube of interest to Sunset fans.

 

Today - June 1 is the 25th anniversary of the Sydmonton Workshop of Sunset Boulevard which starred Patti LuPone and Kevin Anderson.  He posted some cool footage of happier Patti-ALW days  

https://www.youtube.com/watch?v=AAwH2tMmTfI 

[Lot666]

Posted: 6/2/17 at 7:48am

chernjam said: "Andrew McBean posted something on YouTube of interest to Sunset fans.

Today - June 1 is the 25th anniversary of the Sydmonton Workshop of Sunset Boulevard which starred Patti LuPone and Kevin Anderson.  He posted some cool footage of happier Patti-ALW days  

https://www.youtube.com/watch?v=AAwH2tMmTfI "

Kevin Anderson's performance of the song "Sunset Boulevard" really rubs me the wrong way. I thought Michael Xavier's pronunciation of the word "boulevard" was irksome, but Mr. Anderson is very off-putting to me. Did anyone like him in the role?

On an unrelated note, I was at the matinee last Saturday and they've implemented some specials on merchandise (presumably because the end is nigh). I believe they were offering the photo album with the tote bag for $25 and two mugs for $20. There may be other items on special as well.

[chernjam]

Posted: 6/3/17 at 12:12am

Lot666 said: "
Kevin Anderson's performance of the song "Sunset Boulevard" really rubs me the wrong way. I thought Michael Xavier's pronunciation of the word "boulevard" was irksome, but Mr. Anderson is very off-putting to me. Did anyone like him in the role?

On an unrelated note, I was at the matinee last Saturday and they've implemented some specials on merchandise (presumably because the end is nigh). I believe they were offering the photo album with the tote bag for $25 and two mugs for $20. There may be other items on special as well.

"

Its interesting Lott - I remember that criticism being leveled at Anderson back when Sunset premiered in the first set of reviews that came (maybe Frank Rich mentioned it in the NY Times?)  I only remember that because when I got the World Premiere Recording 3 months later and heard the title song for the first time, I was waiting to hear what was wrong with it.  All these years later, I still can't hear what the issue is - and up until this revival, he was, vocally, my favorite Joe.  To me he just sounded the most natural... his voice was powerful when it needed to be.  He just seemed a good fit.  But since this revival, Xavier has really become my favorite Joe.  The acting/directing choices have made a more relatable character, and vocally, he's terrific. [enter rant about them not recording this revival here] :)

I will definitely be going to see Sunset again, so will double check the "specials" being offered.

[chernjam]

Posted: 6/3/17 at 12:12am

Lot666 said: "
Kevin Anderson's performance of the song "Sunset Boulevard" really rubs me the wrong way. I thought Michael Xavier's pronunciation of the word "boulevard" was irksome, but Mr. Anderson is very off-putting to me. Did anyone like him in the role?

On an unrelated note, I was at the matinee last Saturday and they've implemented some specials on merchandise (presumably because the end is nigh). I believe they were offering the photo album with the tote bag for $25 and two mugs for $20. There may be other items on special as well.

"

Its interesting Lott - I remember that criticism being leveled at Anderson back when Sunset premiered in the first set of reviews that came (maybe Frank Rich mentioned it in the NY Times?)  I only remember that because when I got the World Premiere Recording 3 months later and heard the title song for the first time, I was waiting to hear what was wrong with it.  All these years later, I still can't hear what the issue is - and up until this revival, he was, vocally, my favorite Joe.  To me he just sounded the most natural... his voice was powerful when it needed to be.  He just seemed a good fit.  But since this revival, Xavier has really become my favorite Joe.  The acting/directing choices have made a more relatable character, and vocally, he's terrific. [enter rant about them not recording this revival here] :)

I will definitely be going to see Sunset again, so will double check the "specials" being offered.

[A Director]

Posted: 6/3/17 at 2:58am

Frank Rich's 1993 review.

July 14, 1993

Critic's Notebook; Upstaging a New Lloyd Webber Musical

By FRANK RICH,

LONDON, July 13— In the narrow world of British show business, little short of an earthquake could upstage the opening of a new Andrew Lloyd Webber musical. But as it bizarrely happened, just such a tremor shook the West End on Monday. Hours before the opening of Mr. Lloyd Webber's "Sunset Boulevard," the newspapers gave big play to the unexpected announcement that the West End production of the Broadway hit "City of Angels" would close after only a four-month run. 

"City of Angels" received rave reviews, and its box-office collapse was blamed on the gravity of the recession and the declining sophistication of West End audiences. Since both "Angels" and "Sunset Boulevard" happen to be about Hollywood in the late 1940's, the abrupt failure of the American show cast a particular pall over Mr. Lloyd Webber's gala premiere. Although "Sunset" boasts the cushion of a large advance sale -- at $:4 million ($6 million), neck and neck with a new revival of "Grease," starring Debbie Gibson -- any visitor to its box office last week could discover that seats are readily available, as they are for virtually every West End attraction. No wonder, then, that The Evening Standard ran an editorial on Monday all but praying for the musical's success, reminding its readers that a "smash hit show" not only "lifts our thoughts from humdrum, everyday toils" but "also draws foreign visitors to London." 

The paper was still on the stands when the curtain at the Adelphi Theater rose on a show that, despite its occasional resemblance to Madame Tussaud's, is unlikely to be a perennial tourist attraction akin to the last new Lloyd Webber musical to become an international hit, the nearly seven-year-old "Phantom of the Opera." The early reviews are supportively mixed, with some of the critics pointedly finding "Sunset Boulevard" wanting in comparison not so much with the 1950 Billy Wilder movie on which it is based but with "City of Angels." 

In truth, "Sunset" tries very hard, arguably to the point of artistic imprisonment, to be faithful to Mr. Wilder's acerbic masterpiece. Much of the film's plot, dialogue and horror-movie mood are preserved, not to mention clips used to illustrate those sequences in which the faded silent-film star, Norma Desmond (Patti LuPone), and her kept young screenwriter, Joe Gillis (Kevin Anderson), travel by car. While a few anachronisms slip in, the co-librettists, the lyricist, Don Black ("Aspects of Love", and the playwright, Christopher Hampton ("Les Liaisons Dangereuses", smartly tailor their new jokes to the original screenplay's style. 

At times even Mr. Lloyd Webber gets into the Wilder swing. Both acts open with joltingly angry diatribes about Hollywood, part exposition-packed recitative and part song, in which the surprisingly dark, jazz-accented music, the most interesting I've yet encountered from this composer, meshes perfectly with the cynical lyrics. Each of these numbers is led with bite, sexual swagger and vocal force by Mr. Anderson, whose invaluable performance suggests a mixture of "Pal Joey" (which he once played at the Goodman Theater in Chicago) and Tim Robbins's contemporary Hollywood shark in "The Player." Like his screen predecessor in the part, William Holden, Mr. Anderson makes the sardonic Wilder voice an almost physical presence in "Sunset Boulevard." But that voice is too often drowned out by both Ms. LuPone's Broadway belt and by the mechanical efforts of Mr. Lloyd Webber and his director, Trevor Nunn, to stamp the proven formulas of "Phantom" and "Les Mis" on even an intimate tale. 

Ms. LuPone is a gifted actress whose vocal pyrotechnics are especially idolized by the British, not least because their own musical-theater stars can rarely match them. Yet despite her uncanny mimicry of Gloria Swanson's speaking voice and her powerhouse delivery of the score's grand if predictable ballads, she is miscast and unmoving as Norma Desmond. Until the final scenes, when she is given a fright wig more suggestive of radiation treatment than of advancing years, Ms. LuPone acts and looks her own spry 40-something. Since Mr. Anderson appears to be only about five years younger -- as opposed to the seeming two-to-three decade gap between Swanson and Holden -- the pathos and creepiness are drained from Norma's desperate attachment to Joe and, by extension, to her own vanished youth as the most glamorous star of a bygone day. Even in her showy, final mad scene, Ms. LuPone does not snap in the heartbreaking Blanche DuBois manner called for and instead finds her strenuous efforts vulgarized by one of many garish Anthony Powell costumes, the sudden and baffling appearance of a red ribbon as a maniacally waved prop, and echo-chamber sound effects. 

An equally serious shortcoming is Ms. LuPone's inability, through no fault of her own, to convey the heroine's legendary status in the show-biz firmament. As Swanson was in real life a repository of a half-forgotten screen era at the time she made "Sunset Boulevard," so the musical version would seem to need its own resonant equivalent, a Shirley MacLaine or an Angela Lansbury, generically speaking. But Mr. Lloyd Webber, who still puts his desire to write pop hits above the theatrical needs of his projects, has written himself into a corner with Norma. The major arias he has given her, designed as usual to be extracted and plugged by recording artists, are too vocally demanding to be sung by most older stars who might otherwise be plausible in the part. (One exception is Barbra Streisand, who has recorded two "Sunset" songs without, as yet, turning either into a hit of remotely "Memory" or "Music of the Night" proportions.) 

Parts of the musical "Sunset," notably the vivid staging of the scene in which Norma briefly finds herself in a spotlight while visiting a Cecil B. DeMille sound stage, might be thrilling with a more affecting figure center stage. Such is the story's tidal pull. But much of this production would still droop. While the show runs a standard two and a half hours or so, it feels heavily padded. Three supposedly comic numbers, occasioned by such trivial events as Joe's wardrobe shopping spree, are leaden, with one New Year's party routine for Hollywood's young crowd weirdly recalling Lincoln Center's ill-fated "My Favorite Year." Much of Act II, in which 6 of 10 songs are reprises, is given over to an attenuated account of Joe's illicit romance with a fledgling screenwriter (the Nancy Olson role in the film), who is insipidly written and performed (by Meredith Braun) and must be ludicrously reduced to nearly jailbait age to make her a young alternative to Ms. LuPone's youthful Norma. 

John Napier's scenery is, as expected, spectacular, with an artful rather than literal-minded swimming-pool effect for the famous opening scene and an evocative array of film noir shadows, some of them redolent of Mother Bates's homestead in "Psycho." The eye-filling main set is the living room of Norma's mansion, which honors the film's vision of an old-time Hollywood palazzo even as it revives the gilt and glittering candelabra of "Phantom of the Opera." There are many more "Phantom" echoes in "Sunset Boulevard," not all scenic or musical or innocent, from the broad premise (a lovesick, potentially lethal phantom haunting a Baroque palace) to the parody sequences (of spear-carrying movie epics instead of kitsch operas) to the final unmasking of its protagonist. Mr. Nunn, unfortunately, cannot muster the cinematic touch with which Harold Prince gave "Phantom" the illusion of continuous movement. The only fluid sequence in "Sunset" is the first, a tour of Hollywood that is choreographed by Bob Avian with a flair worthy of the stage montages on which he collaborated with Michael Bennett. 

The occasional excursion into fresh air aside, "Sunset Boulevard" is usually a three-character piece encased in a lumbering environment large enough to accommodate "Aida," the third character being Daniel Benzali's waxworks replica of Erich von Stroheim's mysterious aide de camp, Max. At odd moments, sometimes for no apparent reason other than to exercise the stage machinery, the mammoth set advances like a glacier toward the audience or retreats or, most dramatically, rises partly up into the flies, actors in tow. Since "Sunset Boulevard" is not scheduled to open in Los Angeles (with Glenn Close as Norma) until December and on Broadway (with Ms. LuPone and Mr. Anderson) until the fall of 1994, its creators have the time and the increasingly rare West End luxury of pre-sold audiences to search for means other than hydraulics to make their show lift off.

 

[A Director]

Posted: 6/3/17 at 3:01am

The 1993 Variety Review

Review: ‘Sunset Boulevard’

Matt Wolf

• JULY 13, 1993 | 12:00AM PT

"When I speak it's with my soul," sings the faded yet defiant silent film star Norma Desmond (Patti LuPone) early in "Sunset Boulevard," Andrew Lloyd Webber's musical of Billy Wilder's 1950 movie. Not for the first time one is left wondering if the same will ever be true of Lloyd Webber when he composes.

“When I speak it’s with my soul,” sings the faded yet defiant silent film star Norma Desmond (Patti LuPone) early in “Sunset Boulevard,” Andrew Lloyd Webber’s musical of Billy Wilder’s 1950 movie. Not for the first time one is left wondering if the same will ever be true of Lloyd Webber when he composes.

 

Almost obsessively faithful to its legendary source, this “Sunset” has a lot going for it — preeminently a star performance and a production design of equal virtuosity — without that crucial element, a soul, to justify the musical on its own theatrical terms.

 

 

“I can play any role,” Norma goes on to sing to Joe Gillis (Kevin Anderson), the newly arrived scriptwriter in her midst, just as Lloyd Webber can no doubt compose in any style. But where are the ferocity, the irony, the sardonic comedy that made Wilder’s acrid film noir a classic? In the musical, it’s not the pictures that have “got small” but the singular vision of a master director, Wilder, whose genius has been diluted into something much more generic.

That’s not to say “Sunset” cannot be adapted for the stage: One imagines what Kurt Weill or Stephen Sondheim would have made of such a dark and desperate story. But as re-conceived by Lloyd Webber with book and lyrics by the first-time creative team of Don Black and Christopher Hampton, this “Sunset” works overtime to pay homage to the film — the story is virtually identical, as is much of the dialogue — without finding its own voice.

Those expecting a new reach from Lloyd Webber may be surprised by a score that repeatedly takes the soft option, not least when it’s rehashing shopworn anti-Hollywood bile (the title song, stirringly sung by Anderson’s Joe) or extolling Norma’s star quality.

LuPone’s dark, yearning eyes and extravagant gestures have made that fact apparent long before the dully overexplicit paean to her, “The Greatest Star of All,” sung by the butler Max (Daniel Benzali, inheriting Erich von Stroheim’s bald pate and ramrod posture without any of his wit).

Most depressing is a thoroughly ersatz love duet for Joe and devoted scriptreader Betty (Meredith Braun in the Nancy Olson part), whose title –“Too Much in Love to Care”– even sounds like imitation Rodgers and Hammerstein.

Elsewhere, the songs busily reprise one another or, on occasion, earlier Lloyd Webber shows (not to mention Paganini, Puccini and the usual crew), which makes sense if one recalls that “Evita,””Phantom of the Opera” and “Aspects of Love” also focus on show business heroines. (Buffs will even spot a reference to the failed verse play “La Bete,” which he produced.) Perhaps the most musically intriguing number, “Surrender,” is Norma’s first: a lament for her dead chimp later reprised by Cecil B. DeMille (Michael Bauer) as a lament for a dying star.

While the setting of the Paramount lot in particular seems to pastiche Robin Wagner’s work on “City of Angels,” designer John Napier has boldly imagined Norma’s 10086 Sunset Boulevard as the kind of rococo mansion M.C. Escher might have drawn up for the Ottoman empire: winding staircases, columns, rich fabrics and the inevitable organ. Act two starts with a poolside tableau worthy of David Hockney, shimmeringly lit by Andrew Bridge, amid which Norma emerges in the kitschiest of Anthony Powell’s entertaining costumes.

The musical’s other talking point will doubtless be LuPone’s Norma, which manages rightly to honor, and then put aside, memories of Gloria Swanson. There’s always been an element of outsized theatricality to LuPone, who perhaps for that reason seems more quintessentially a person of the theater than most current Broadway stars.

Norma is an apt fit for the performer, who meets the challenge thrillingly: She gives us the screen goddess as grotesque, at once seductive and suicidal, and her final descent down the staircase (and into madness) chills the audience in a way Lloyd Webber’s closing crescendo can only approximate.

The only other role of note is Joe, whom Anderson plays as a rather too affable extension of that other callow Joe, Rodgers and Hart’s “Pal Joey,” a part he has done on stage in Chicago. There’s nothing faintly period about this actor, whose body language couldn’t be more ’90s, but he will surely convince more when he tries to ingratiate less.

As drilled by an underused Bob Avian, the 23-strong chorus exists mainly to fill out scenes at Schwab’s and at Par, and to sing two parallel (and forgettable) numbers about dressing Joe properly and giving Norma a massage.

That massage, though, pales next to the one Lloyd Webber gives the audience, allowing a ready cry on matters that in the film are too macabre for tears. In context, what hope had director Trevor Nunn of excavating the buried emotions? In “Sunset Boulevard,” nothing is buried except the bile that made the film great to begin with. It’s as if in trying to humanize Wilder, Lloyd Webber could only sentimentalize him.

Posted: 6/3/17 at 7:23am

agirlnamedlucky said: "Bettyboy72 said: "I'd have killed to see Nancy. However I feel terrible for all those folks who planned seeing Glenn as a Mothers Day gift. "

I just joined this forum (after stalking for many months!) just so that I could speak about my experience.

Sunset is my favorite movie of all time, and I discovered the original cast recording a few years ago. I fell in love with the score and love how close it is to the movie. Back in October, someone I followed on Instagram posted about the revival, and I freaked out. I buy tickets for my mom and I to see a show on every Mother's Day weekend, and give them to her as a Christmas present. She had never seen the movie or the play, but she was so excited to see Glenn. Meanwhile, I've had a countdown on my phone until the big day, we watched the movie together a few weeks ago, and I've been listening to the original recording all the time. I've read just about every review I could find of the show, including reviews here! I simply couldn't wait.

Fast forward to Sunday afternoon: it's 2PM, and we go to the Palace to see when doors are going to open. There's an angry looking couple at the box office window and they're taking a long time. Finally, we overhear "because Glenn is sick today." I started feeling lightheaded. I couldn't believe this was happening. We had traveled from Boston just for her, and the people next to us had traveled from London! No one from the theater was making any kind of announcement, so my mom (who is a chatterbox) just started spreading the word herself. People's jaws dropped, and a lot of them didn't believe her, until a young guy came out with a megaphone and made the official announcement. We were told that we could ask for a refund at point of purchase, or stay for the show. We decided to stay, and I'm SO glad we did. 

I can't say enough wonderful things about Nancy Anderson's performance. I was so worried for her, my heart was beating out of my chest and my palms were sweaty when she started to sing. She knocked "With One Look" out of the park and got loud cheers and applause for a solid two minutes. "As If We Never Said Goodbye" brought my mom and I to tears; the lyrics "watch me fly, we all know I can do it" were just too relevant. The whole show, especially the orchestra, just took my breath away.

Afterwards, we met Fred outside of the stage door, and he was very nice. A group of us waited for Nancy. She was so surprised and thrilled to meet us, and my mom told her that she saved her Mother's Day! Nancy took a photo with me and autographed my playbook (next to Glenn's face, ha). Mom has still not stopped talking about how amazing Nancy was. It really was a magical performance, and I'm so happy that she got a chance to shine.

I'm now considering taking a day trip back to New York by myself to (try to) see Glenn, because I've already waited this long and the show will be done soon. I hope I can make it happen!

 

"

Thrilled to say that I (and my very patient husband) will be spending 8 hours on a bus tomorrow to return to Sunset Boulevard for Glenn. I was even able to grab 7th row center seats for less than my mezzanine seats from Mother's Day! Crossing my fingers that I will get to see her this time! Either way, so excited to see this gorgeous show for the second time. 

[chernjam]

Posted: 6/3/17 at 1:17pm

agirlnamedlucky said: "
Thrilled to say that I (and my very patient husband) will be spending 8 hours on a bus tomorrow to return to Sunset Boulevard for Glenn. I was even able to grab 7th row center seats for less than my mezzanine seats from Mother's Day! Crossing my fingers that I will get to see her this time! Either way, so excited to see this gorgeous show for the second time. 

"

Oh awesome! Make sure you fill us in on your experience.

Yeah, not sure what's going on - there were a lot of seats available this week... looks like this will be a rough week gross wise for Sunset.