Photo Credit Marc Brenner
New York-Sunset Boulevard, a musical with music by Andrew Lloyd Webber and lyrics and libretto by Don Black and Christopher Hampton, based on the 1950 movie, has made its way back to Broadway. First coming to Broadway in 1994 after having debuted in London in 1993, the story follows Norma Desmond, (Nicole Scherzinger) a washed up Hollywood star who dreams of returning to the screen, and the writer Joe Gillis (Tom Francis) who hopes to use her to get his own fame. Reimagined for a modern day by director Jamie Lloyd, this production was like nothing I could expect, and was unlike anything I had ever seen.
Working with a minimal set and costume design scheme by Soutra Gilmour, the audience is basically staring at a black and white stage, with a black and white screen, and cast members in casual modern day black and white workout clothing for most of the show. Exceptions are Desmond in a plain black slip and her butler Max played by David Thaxton and Gillis being sometimes in suits. These minimizations allow for the real stars of the show, the video design and cinematography by Nathan Amzi and Joe Ransom, sound design by Adam Fisher, and lighting design by Jack Knowles to take center stage. Each of these elements combine so perfectly for a stunt with the act two opener and title song, Sunset Boulevard, that I was in complete shock and had my hand on my mouth in a full gasp the entire two minutes the scene was playing out. I still do not understand how they made the sound design work. 
This direction and concept by Lloyd, to show how having a camera on a person at all times, and what that does to the human psyche, had so many levels to it that I cannot leave it uncommented on as a mental health professional. Having seen older versions of Sunset Boulevard and found them rather unremarkable except for the iconic songs that everyone knows, instead directing it to be more of a horrific cautionary tale shows exactly how a good director and a great cast can breathe life into an imperfect script. Much has been said in many reviews about the astonishing performance of Scherzinger, and these reviews are correct. What I will add to it is the level of insanity and pure narcissism that Schezinger gets into the character, from the video close-ups and the eye gazes to the camera, while some have called campy, felt even better when looking at it through the lens of horror. I also enjoyed the ensemble numbers, such as Let’s Do Lunch, much more with an angry and aloof cast that seems to be going more through the motions of life, waiting for their next chance to be on camera, rather than actually living. The choreography by Fabian Aloise was an updated feel as well, which also made the music move at a better pace and kept the show from dragging or feeling too repetitive.
Photo Credit Marc Brenner
Because I seemed to have a weekend of understudies, Betty Shafer was played by Sydney Jones, who normally plays a different role in the cast. It is these professionals that truly impress me, because they may wake up one day expecting to play one role, arrive at work, and be told today you are playing one of the principles, get ready! Jones not only pulled it off without a misstep, her chemistry with Francis as Gillis felt as if they did this together daily. Because of the video element, there were many scenes projected onto a large screen so the audience could witness intimate songs, conversations, and details that we see a lot in the movies. The intriguing difference here is that this is happening in front of us, and I could look from the live scene to the screen, and there were no retakes or cutting room floor to get it just right.
For those who do not know the story I will not spoil it but will say this is not a happy ending show. It was not something that I would have put in the category of horror before this rendition, but now I am not sure I will see it any other way. The character of Max played expertly by Thaxton feels like one of the most haunting portrayals of how a narcissist can get someone stuck in their grip. The dark, dismal setting developed by the creative team quite literally shines a light on the shadowy side of fame, bringing out the hidden difficulties, the lack of freedom, the mistakes one cannot make, and the way we all trap each other within it.
Sunset Boulevard is playing an open run at the St. James Theatre, 246 W 44th Street, NY, NY, on most evenings at 7 or 8pm, with matinees on Wednesdays and Saturdays at 2pm, and Sundays at 3pm. For more information see https://sunsetblvdbroadway.com/
