Sunset Thoughts

[castlestreet]

Posted: 7/5/10 at 12:27pm

I know this has been discussed to death on various forums, but after watching Patti LuPone's recent interview at the Book expo, and watching a great interview she did with PBS on Youtube, I have some new thoughts about the whole Sunset debacle.

I don't think there is any doubt that the LA production of Sunset was a tighter, better orchestrated and better run version of the show. This is in no way shape or form a comment on who the better Norma was (Glenn v. Patti). However, if LuPone and company had gotten the chance to star in THAT production and not the problem plagued Original London, how would things have been different? I remember watching clips of Betty Buckley at Seth's Chatterbox last summer when she talked about Webber asking her to call Patti and ask her to consider going out to LA to replace Glenn when she went on to NY. Buckley does a great impression of Patti screaming on the phone "replace my replacement!!". But how much differently would those who didn't like LuPone in the role have felt if she had the benefit of being in the the better production first?

I also thinks it should be mentioned that Nunn let Glenn do what she wanted with the role, whereas he "micro-directed" LuPone in the original production. What if Patti had been given the opportunity to do with the role what she felt, and not what a British Director wanted?

As far as Webber- he's a control freak, and not many people deny that fact. He does have a much more active hand in his productions, and while he was out of line several times with Sunset, he also was trying to ensure that the show that went to NY was his best effort. Was Glenn ultimately better suited in the role- I still think so, and the LA Cast and Production will always be my favorite... but hearing Patti open up a bit more about what happened has opened up my mind a bit more than before. There are some Youtube clips with Patti singing the two big Sunset songs in concert years removed from the entire debacle- and she is surprisingly excellent in her delivery. She sounds nothing like she does on the OLC. Her approach is entirely different and acted much better than what I think she did on stage.

Everyone involved with the original London, LA, NY and Toronto productions of Sunset Blvd. ended up with a few bruises here and there. Patti LuPone had every right to feel the way that she did, but she was not alone. I can't wait to read the two chapters in the memoir on Sunset-should make for a very very interesting read.

Maybe in another life Glenn gets sadled with the problems in London and Patti gets to ride in with the calvary in LA and saves the day!

[Sean2]

Posted: 7/6/10 at 1:11am

Thanks for sharing all this! Very interesting to read. I will now definitely get Ms. LuPone's book, just for those bits.

I agree with your thoughts about the differences between London vs. L.A. I was lucky enough to see Patti LuPone play the role in London, and to Glenn Close in the L.A. production. While it's true that Patti sings better hands down, I have to say that Glenn Close blew the production away. I thought if was fine in London. Nothing more. When I saw it in L.A., I was breathless. What Glenn Close did was masterful. I know the whole debacle caused much gossip and 'scandale' but there's no question in my mind that Close made the piece work in a way that LuPone couldn't. Nunn is still an actor's director, or was at that time anyway, and I don't believe he let Glenn play what she wanted. She and Nunn may have been closer in opinion as to what was the best way into the character. Who knows.

Throwing myself on the butcher block for that one, methinks.

[AEA AGMA SM]

Posted: 7/6/10 at 1:24am

I will start by saying that I saw Glenn Close on Broadway, but did not see the London production and only know it from the recording. That being said, I did not care for the changes to the score I heard on Broadway. I hated "Every Movie's a Circus" and the rewrites to the scene in Schwab's between Joe and Betty. Even some of the smaller changes, such as the rewrites in "The Lady's Paying" and switching that flute solo between the shooting and Norma's "mad scene" from the "Surrender" melody to the "Sunset Boulevard" melody kind of irked me. By that point I pretty much had the London recording memorized, so it was somewhat jarring to me to hear some of those differences.

I did love that original Broadway cast, though I never cared much for the LA recording (actually sold it for a few bucks on eBay back in my grad school days since it was never getting any playtime at home anyway).

[uncageg]

Posted: 7/6/10 at 1:26am

Sean2...I agree with you but here is the deal...I didn't see the show until the premiere of the National Tour in Denver with Linda Balgord. I dated a guy who was obsessed with the London Recording. I listened because I knew Lupone from "Evita". But then the OBCR came out with Close and I was blown away. I can't even listen to the London recording (I tried again a month ago and couldn't listen to it all. Thank goodness I don't own it as it would just be taking up space!).

A shame they picked Balgord for the tour. The magic was there, everywhere, except with Balgord.

[muscle23ftl]

Posted: 7/6/10 at 1:26am

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Updated On: 7/6/10 at 01:26 AM

[muscle23ftl]

Posted: 7/6/10 at 1:28am

I like the LA CD too. Glenn and Judy are perfection. If ALW is as you say a "control freak", he is an artist and has all the right to direct his creations the way he wants to.
Anyhow, my producer friend worked with him and said he is very kind at work and always very respectful to everyone who works for him. He said that some of his head workers are rude though.

[AEA AGMA SM]

Posted: 7/6/10 at 1:35am

Oddly enough Judy Kuhn's performance on the LA recording was one of the things I didn't care for. As I remember her performance on the recording felt very broad to me, almost reaching the same level of theatricality that Glenn Close was reaching as Norma, which to me seemed wrong for Betty.

I'm kind of curious now to hear it again and see if I still feel the same about it. Thinking on it it's probably close to ten years now since I really listened to that recording.

[chernjam]

Posted: 7/6/10 at 1:38am

Sean & Castle - I have to say, seeing Sunset in NY was truly an amazing theatrical experience. Glenn Close simply had this incredible presence that even with that massive mansion, she seemed to be able to grab your attention the second she started down that staircase.

I remember seeing clips of Patti clumping her way down the stairs and singing With One Look in the Original London production that it was, well, awkward.

Its probably true, Unfortunately for LuPone, she didn't have the benefit of having the LA Production with it's re-writes, re-staging, re-design of sets/lights to benefit from.

But, if I remember correctly, LuPone was originally offered the opportunity to open London, LA and Broadway and passed on LA, simply wanting London and NY.

Was it unfortunate that she was passed on for NY? Well for her, sure. But can you imagine what the critics would have done to the $14 million production in NY after they raved about Close and were (at a minimum) tepid about LuPone?

It's too bad she wasn't up for LA or Broadway after Close. It would have given her an opportunity to demonstrate why she believed she deserved to open it in NY, and exhibit incredible class (particularly since she sounds whinny, and pathetic still ripping on ALW after she got paid substantially not to open in NY)

AEA - I do agree that the American Premiere Recording isn't incredibly satisfying. Close was much better live than on recording. And that's one score that no matter what recording I have, none of them is fully satisfying. The closest to perfection (for me) is Helen Schneider and the German Cast - but it's only one disc and in German.

Sorry for rambling... I'm a huge Sunset fan...

[AEA AGMA SM]

Posted: 7/6/10 at 1:48am

Honestly, if I could have my dream recording it would be a merger of Glenn and George from the LA recording with Kevin Anderson and Meredith Braun from the London recording. I have no idea how either of the Kevin and Meredith were in the theatre, but on the London recording, at least to me, they just had a much more natural and relaxed feel and sound to them than Alan Campbell and Judy Kuhn do on the L.A. recording.

Interesting question, did either of those two survive in London when Patti was let go and all the changes from L.A. were implemented?

[chernjam]

Posted: 7/6/10 at 2:10am

I'd love to have seen Kevin Anderson in NY too...

From what I remember, when they decided to go with Close over LuPone they decided to bring the entire LA Cast (Kuhn had to bow out - I think she was pregnant? Hence Alice Ripley opened in NY)

and then for London, they decided to shut the show for 2 weeks, did some work on the sets (new hydraulic lifts I think?) and incorporate all the other changes. So they had an entirely new cast with Betty Buckley as Norma. So there was a "second" opening night...

[Sean2]

Posted: 7/6/10 at 2:11am

AEA - Kevin Anderson left before LuPone if I remember correctly. He was okay, but his presence was very pouty and disinterested. Alan Campbell was Close's equal and could hold his own with her. Plus his voice was just magnificent, and I loved his acting as well.

In terms of staging and opening the show, 'Every Movie's A Circus' was such a better start than in London. I suppose that watching a musical about the movies while in L.A. had a certain kind of narcissism about it. But that number made the idea of movies really powerful and energetic and young. I liked that.

The problem, for me, was that in London, Norma was an unlikable bitch. In L.A., Norma was repulsive, but pitiable. They were such different takes.

The one difference that I preferred in London, was that at the very end when Norma comes down the stairs, her wig is gone, her makeup is running and she looks like a creepy, horrid, old hag in the middle of some horrible delusion; then with those final chords, she flings the long sleeves of her gown around her, like a straightjacket. It was REALLY thrilling. I still prefer it to the sweet black and white footage of the young Norma.

[muscle23ftl]

Posted: 7/6/10 at 2:56am

AEA, I got the CD of Sunset with Glenn and I HATED it and I also sold it. Then I am not sure why I had to buy it again...but I started listening to it, and fell in love with it.
Judy Kuhn is a terrific actress and you can hear that on this recording. Glenn is terrific as well, of course.
When Glenn Close left the show, the rest of the main characters remained in the show. It was the 1st show I saw in NYC, I was sort of bored. A few years ago, when I still had the playbill, I read it and realized that was Amy Spanger's Broadway debut. She was in the chorus.

[CockeyedOptimist2]

Posted: 7/6/10 at 8:08am

I also love Judy Kuhn on the recording. I think she perfectly embodies the sweet naivete of the character. Listening to "Too Much in Love to Care" is always a treat (though I'm always unpleasantly surprised by the minute of dialogue after the song with the Max reveal).

[sbflyfan]

Posted: 7/6/10 at 8:45am

The most devastating thing to me is that the "Surrender" Reprise isn't in the final scene ("When he scorned me I knew he had to die, let me kiss his severed head..." etc.) on Patti's recording. I know it wasn't put in the show until LA but I think she would have done wonders with it.

[bryan2]

Posted: 7/6/10 at 9:12am

having seen everyone basically except Patti I have to say her recording is the least satifying. She rushes the lyrics and sounds to New Yawkish...doesnt exude any of the necessary class that is needed. I thought Glenn was great but way over the top from begining to end. Betty was perfect ..slowly going crazy
and Elaine sang it better than anyone..but was so small when she had the Perfect Year gown on she looked really funny
Karen Mason kicked ass also....she sang the hell out of it and really was great

[chernjam]

Posted: 7/6/10 at 10:50am

AH BRYAN - in all my ramblings you reminded me of what I can't believe I forgot - Karen Mason... Truly was the best performance of all the Normas I saw in NY (and I saw all of them - Glen 2 times; Betty twice; Elaine twice and Karen twice) Her voice blew the roof off that theatre, and she was able to exude the presence that Glen did as Norma. I'll never forget her "As If We Never Said Goodbye" when she held the word "BRIGHTER" (after "I've come HOME at Last") with the orchestra continuing. She knocked that out of the park and the ovation she got literally stopped the show in its tracks.

Betty Buckley definitely was a favorite as well. Incredible voice, more vulnerable than Close was... actually felt much more sympathetic for Norma and that her story was tragic than I did for Glen Close, who in the end just seemed like a loon! (A memorable loon, but a loon nonetheless)

Elaine Paige - couldn't stand her performance at all. Her voice is extremely strong, but the way she sang the score was awkward and annoying. Her acting seemed "cartoonish". Wasn't shocked that the show's attendance completely dropped off under her watch.

[castlestreet]

Posted: 7/6/10 at 11:15am

Chernjam...

Totally agree with Elaine Paige- reminded me very much of Petula Clark in the role which was hideous. (Petula was also hideous in person after the show- a meeting I wish I had never had arranged)

There is a YouTube clip of Karen Mason singing With One Look up that I had never seen before, but I too agree that she was very very good in the part. I love her version of As If We Never Said Goodbye on her "Right Here, Right Now" CD- love the change-up on "and Briiiiiighter than we knew it".

On the German CD- I agree that in terms of the overall sound quality the German is tops- I only wish it was complete. The CD contains a few things the others don't (you can actually hear the wind going through the pipe organ during the final scene) Also of note with all of the foreign language Cast Recordings- because in German and Dutch "I'll be Meeeeeee" doesn't end in the high pitched vowel sound, those Norma's were able to belt the hell out of that last note and not have it sound so harsh.

[Broadway Bob*]

Posted: 7/6/10 at 11:23am

I LOVED Betty Buckley's performance in this show. As well as Elaine Paige's. HATED Linda Baldgord (too young and not enough "star" power) and Petula Clark. And, although Buckley was my favorite, I really loved Maureen Moore, who was Paige's standby after Karen Mason left. She was phenomenal! So glad I got to see her one of the few times she got to perform.

[Phantom of London]

Posted: 7/6/10 at 12:05pm

London has just had, quite a successful revival of Sunset Boulevard, which was done as a actor/musician piece, the revival was very stunning, all agreed on the West End board. I had high hopes this would transfer to New York, like Sweeney Todd did (it was done by the same creators), there we have fortuitously gone full circle back to Patti, lol.

The London production starred Kathryn Evans, clip below singing 'with one look'. I hope you enjoy.

http://www.youtube.com/watch?v=7xAbiYshA-8

[Mister Matt]

Posted: 7/6/10 at 12:10pm

I hated the rewrites to The Lady's Paying, especially Close's screaming freak-out on the recording, which seems entirely out of character. I just think it was a real shame Buckley could not have opened the Broadway production instead of Close. She really deserved a Tony for her Norma Desmond.

[jo]

Posted: 7/6/10 at 12:44pm

I had seen Betty Buckley and Elaine Paige in separate London productions, but both opposite John Barrowman. This is one of my favorite musical scores of ALWebber and the staging at that time was very impressive to me, as it was very reminiscent of the original movie classic with William Holden and Gloria Swanson.

But I wish I had also seen the Australian production. There is a documentary on the making of the show in Melbourne and it seemed like excellent casting.

Here's an audio of TOO MUCH IN LOVE TO CARE ( with Hugh Jackman and Catherine Porter) - sorry, the audio is not crystal clear.

http://www.youtube.com/watch?v=f4KsSYuJz_c

And from the same audio, Debra Byrne's interpretation of WITH ONE LOOK

http://www.youtube.com/watch?v=MJsb8HNsjp8&feature=related


And a duet of THE PERFECT YEAR with Debra and Hugh

http://www.youtube.com/watch?v=w5_CooPii_M&feature=related
Updated On: 7/6/10 at 12:44 PM

[CockeyedOptimist2]

Posted: 7/6/10 at 1:28pm

Phantom of London, I saw the London revival last year and absolutely loved it! I was especially impressed with Ben Goddard (is that his name?), who played Joe and also played about 6 instruments throughout the show. My favorite part was when he played his own flute solo intro to "Sunset Boulevard" at the top of Act II. My only gripe with the production was that I didn't care for how they did "Too Much in Love to Care." Far too painful and angsty. Joe and Betty were on opposite sides of the stage and almost writhing in the pain of their new-found love. But I suppose I can see the merit in that idea. Just didn't care for it.

[Bettyboy72]

Posted: 7/6/10 at 1:32pm

I have never seen Patti in the part, but I dislike her recording very much.I can't imagine anything remotely refined or star-like about her (yes, I know she played EVITA, but that was a long time ago.) In recent years, she seems very guttural and crass on stage and in person.

I love the Close recording but I know she was not replicating that level of vocal quality in the theatre, but everyone I know enjoyed her performance regardless of the vocal shortcomings. I think the show would have recouped had she stayed with it.

I know most disliked Diahann Carroll in the Toronto production, but I loved her. I saw her 3 times. She was very elegant and affected and real. She was a temperamental actress, a diva, a bitch who eventually transcends into madness.

I thought Rex Smith was a great Joe Gillis and Anita Louise Combe a terrific Betty Shaefer in Toronto. George Hearn was stunning as well.

Petula Clark was a hot mess, but I LOVED Lewis Cleale as Joe.

[Adam Chris]

Posted: 7/6/10 at 2:40pm

I didn't get to see the original London production so I don't really know what I am or not missing.

However, having seen the L.A. version I have to say it captured for me the creepiness and desperation of Hollywood.

From my point of view, Hollywood has always represented lonliness and frustration for an actor.

Reminds me of the young actress who threw herself from the H of the Hollywood sign in 1932 because she was not getting the work she had hopped for.

In more recent years I feel the creepiness from those little shops that line up and down Hollywood Blvd in between the Pantages, Kodak Theater and Mann's Chinese. Santa Monica Blvd is not much better.

So even though what I wrote is a little off topic I would say that the score and tension of Sunset Blvd nailed the Hollywood atmosphere perfectly.
I saw Glenn's take on Norma I believe around 1993/94(?) at the Shubert Theater, which has since been destroyed.

Before seeing the show I was only familar with the Lupone recording and was pleasently surprised to hear the refreshed orchestrations live.



Updated On: 7/6/10 at 02:40 PM

[esparza 333]

Posted: 7/6/10 at 7:08pm

I can't really comment on the stagings and differences in the different productions as this was all when I was very young but I can contribute on the Patti Vs Glenn. While I do think Andrew Lloyd Webber is a very much wrong in what he did and feel very sorry for Patti, when I look at the videos I've seen. Obviously they both are wonderful but for me Close embodies Desmond so brilliantly and with such a presence. When you listen to Patti she sounds absolutely wonderful as always. But when I think of Norma Desmond I think of this overbearing presence that screams star power. It is a certain charisma matched with breathtaking facial expressions. This is what has made Gloria Swanson's legendary performance so iconic. Glen is so powerful during With One Look. You believe that her face captivated the world for years. You believe she was a star. You believe every lyric and with Patti you have wonderful vocals but that presence is much weaker. In As If We Never Said Goodbve Glen's face is full of schock and enthusiasm as she stares at her past and envisions her comeback. Glen's voice might not compare to that of Betty and Patti but she is still impressive especially since she infuses so much emotion into it.