Sunset Boulevard, Andrew Lloyd Webber, Don Black and Christopher Hampton's musical, based on the Billy Wilder film, portrays the story of hard-up screenwriter Joe Gillis and his fateful encounter with former silent movie goddess Norma Desmond. Desmond ostensibly employs Gillis to rewrite her comeback return whist he elects to make the most of the situation while alternately engaging in another partnership.
The original movie contained elements of film noir and melodrama and these are retained for the musical's book and are promoted in Nikolai Foster's stunning production.
The production boasts an orchestra of 16 which is quite an exception these days (but would be seen as small some years past) and is all the better for it; Lloyd Webber's score is inherently cinematic and as such relies on string and brass orchestration for emotional and physical prowess which pulsates throughout the piece. The sound design further enhances the power of the live musicians.
This production is blessed with a beautiful design which is both evocative and striking and perfectly encapsulates Foster's concept of a theatrical film production; with the set moving fluidly, cinematically at one time; then physically, theatrically the next, the mix is a sublime blend. Added to that are exceptional projections brilliantly used to add further depth as well as some contrasting lighting which furthers the experience. In tandem they create some exciting sequences including the care chase which was at once both cinematic and theatrical. Foster is a director who really knows how to work a set and his use of space and dimension is second to none and I am always excited by his production, even the ones that don't quite hit the mark.
The ensemble cast lend great vocal power to the musical and portray many varying roles, including the stagehands who lurk about the sound-stage set, silently observing an occasional moment before engaging in the next scene-change. There are occasions when an older actor would be more appropriate (as in the studio figures Norma recalls from previous days) but this is a small niggle.
Molly Lynch as Betty Schaefer, a wannabe screenwriter, lends an amiable yet determined air and a sweet voice that manages to harden as the plot reaches its resolution. Adam Pearce is a strong and centred Max with a voice that is both powerful and tender. His precise movements are appropriately attuned and something that leading man Danny Mac should learn from; Mac is too energised as cynical Joe Gillis with lots of arm gestures and bouncing throughout the production. There is an economy of stillness that he should learn which would make his performance all the more powerful. As it is he is adequate in the role even if his vocals are unremarkable for the most part.
Ria Jones however has an awesome presence and exceptional vocals in the role of Norma Desmond, the part she originated in the musical's early workshop. When she sings As If We Never Said Goodbye she really means it. Jones captures the melodramatic elements of Desmond with aplomb and the only negative is that she really doesn't play the various descents in to melancholy with enough darkness until the final scene. That said, she stalks the set and hovers over all her scenes like some decrepit vulture eagerly anticipating the next opportunity - be it in Joe Gillis or her reunion with Cecil B. DeMille. Hers is a mesmeric performance and she demands attention every time she opens her mouth to sing.
The production is nearly perfect aside from a few small issues; I was surprised to see that the scene for much of the Act I finale - Artie's apartment - was replaced with Schwab's Drugstore requiring some slightly clunky dialogue changes and though the use of projection was, in the main, inspired there were occasions where it was overused and none more so than in the sequence where Betty journeys to Norma's mansion where we are treated to projection that was reminiscent of The Matrix's falling letters. Here the chosen images were out of place with the remainder of the production. At other occasional moments the amount of projection threatened to become distracting from the onstage action. There is also a need for the final scene to be played at a more suitable pace as it felt too rushed and it should be where we see Norma completely deconstruct, and the audience should have the time to appreciate the awful tragedy of it all. Elsewhere in Act I pace could be picked up here and there, though in reality this may be an argument for some trimming of the musical's book/score (There is at least one small part that I feel could be cut without any damage to the piece's structure at all).
Sunset Boulevard remains one of the best of Andrew Lloyd Webber's canon and this production is as near perfect as such a production can be and extols how, with the right director and design team, a touring production can match - even excel - much of what London's west End can offer. Exquisite design and conception matched with (for the most part) exceptional talent has created one of the best productions to emerge for many a year.
The original movie contained elements of film noir and melodrama and these are retained for the musical's book and are promoted in Nikolai Foster's stunning production.
The production boasts an orchestra of 16 which is quite an exception these days (but would be seen as small some years past) and is all the better for it; Lloyd Webber's score is inherently cinematic and as such relies on string and brass orchestration for emotional and physical prowess which pulsates throughout the piece. The sound design further enhances the power of the live musicians.
This production is blessed with a beautiful design which is both evocative and striking and perfectly encapsulates Foster's concept of a theatrical film production; with the set moving fluidly, cinematically at one time; then physically, theatrically the next, the mix is a sublime blend. Added to that are exceptional projections brilliantly used to add further depth as well as some contrasting lighting which furthers the experience. In tandem they create some exciting sequences including the care chase which was at once both cinematic and theatrical. Foster is a director who really knows how to work a set and his use of space and dimension is second to none and I am always excited by his production, even the ones that don't quite hit the mark.
The ensemble cast lend great vocal power to the musical and portray many varying roles, including the stagehands who lurk about the sound-stage set, silently observing an occasional moment before engaging in the next scene-change. There are occasions when an older actor would be more appropriate (as in the studio figures Norma recalls from previous days) but this is a small niggle.
Molly Lynch as Betty Schaefer, a wannabe screenwriter, lends an amiable yet determined air and a sweet voice that manages to harden as the plot reaches its resolution. Adam Pearce is a strong and centred Max with a voice that is both powerful and tender. His precise movements are appropriately attuned and something that leading man Danny Mac should learn from; Mac is too energised as cynical Joe Gillis with lots of arm gestures and bouncing throughout the production. There is an economy of stillness that he should learn which would make his performance all the more powerful. As it is he is adequate in the role even if his vocals are unremarkable for the most part.
Ria Jones however has an awesome presence and exceptional vocals in the role of Norma Desmond, the part she originated in the musical's early workshop. When she sings As If We Never Said Goodbye she really means it. Jones captures the melodramatic elements of Desmond with aplomb and the only negative is that she really doesn't play the various descents in to melancholy with enough darkness until the final scene. That said, she stalks the set and hovers over all her scenes like some decrepit vulture eagerly anticipating the next opportunity - be it in Joe Gillis or her reunion with Cecil B. DeMille. Hers is a mesmeric performance and she demands attention every time she opens her mouth to sing.
The production is nearly perfect aside from a few small issues; I was surprised to see that the scene for much of the Act I finale - Artie's apartment - was replaced with Schwab's Drugstore requiring some slightly clunky dialogue changes and though the use of projection was, in the main, inspired there were occasions where it was overused and none more so than in the sequence where Betty journeys to Norma's mansion where we are treated to projection that was reminiscent of The Matrix's falling letters. Here the chosen images were out of place with the remainder of the production. At other occasional moments the amount of projection threatened to become distracting from the onstage action. There is also a need for the final scene to be played at a more suitable pace as it felt too rushed and it should be where we see Norma completely deconstruct, and the audience should have the time to appreciate the awful tragedy of it all. Elsewhere in Act I pace could be picked up here and there, though in reality this may be an argument for some trimming of the musical's book/score (There is at least one small part that I feel could be cut without any damage to the piece's structure at all).
Sunset Boulevard remains one of the best of Andrew Lloyd Webber's canon and this production is as near perfect as such a production can be and extols how, with the right director and design team, a touring production can match - even excel - much of what London's west End can offer. Exquisite design and conception matched with (for the most part) exceptional talent has created one of the best productions to emerge for many a year.
