Reimagined "Sunset Boulevard" revival opens on Broadway

[Ali Gator]

Director Jamie Lloyd’s new Broadway production of Andrew Lloyd Webber’s Sunset Blvd. starring Olivier Award winner and Grammy Award nominee Nicole Scherzinger as ‘Norma Desmond' opened on Sunday, October 20 at the St. James Theatre on Broadway. Check out what all of the critics had to say below!

 

Review Roundup: SUNSET BOULEVARD Opens On Broadway

WWW.BROADWAYWORLD.COM

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Director Jamie Lloyd’s new Broadway production of Andrew Lloyd Webber’s Sunset Blvd. starring Olivier Award winner and Grammy Award...

 

[Clt704guy]

Jesse Green just had to rain on everyone’s parade, didn’t he?

[Ali Gator]

It's what Green does best. It's expected of him. 

[+ nycman]

I saw it in London. It was very good. Not nearly as earth shattering as everyone tries to make it sound. Just very good. 

[+ BenjaminNicholas]

The Broadway show is being played and sung the best it's ever been. Take that for what it is.  

It's still Andrew Lloyd Webber.  I can't get too excited for his level of schmaltz.

Director Jamie Lloyd has done much of this same shtick in his other productions.  I really didn't find it all that groundbreaking, but rather gimmicky for the sake of keeping an audience on their toes.  

The park-and-bark moments are solid. 

The direction for the acting is...  Odd.  Makes almost zero sense within the time/place that Sunset is set.

[samhexum]

Nicole Scherzinger, Tom Francis join Morning Joe to discuss 'Sunset Boulevard'

 https://apple.news/A2-vBaLIxTcyZ-mkvg8nSGQ

Edited October 25, 2024 by samhexum
for absolutely NO @%!*ING reason at all!

[+ BenjaminNicholas]

On 10/21/2024 at 10:23 PM, Clt704guy said:

Jesse Green just had to rain on everyone’s parade, didn’t he?

There's nothing wrong a dissenting opinion.

He made some smart points.

[MaybeMaybeNot]

I generally find that if something looks cheap but is packaged as experimental, it plays well in NYC but fizzles on tour once the hype has disippated, like the ridiculous tour of Sweeny Todd with Judy Kaye pouring a bucket of blood or the Oklahoma! tour that reportedly had large swaths of audiences walking out mid-show. I am not saying this Sunset Boulebard isn't brilliant; I am saying I am skeptical based on the concept. 

I am holding out for a Mame revival with four actors playing all roles with puppets and public doman still life painting as projections for sets. Imagine a bowl of fruit when Mame speaks of life being a banquet. Then, when Beau dies, they can use a dead phaesant. So deep. I'm getting chills already. 

[+ BenjaminNicholas]

1 hour ago, MaybeMaybeNot said:

I generally find that if something looks cheap but is packaged as experimental, it plays well in NYC but fizzles on tour once the hype has disippated, like the ridiculous tour of Sweeny Todd with Judy Kaye pouring a bucket of blood or the Oklahoma! tour that reportedly had large swaths of audiences walking out mid-show. I am not saying this Sunset Boulebard isn't brilliant; I am saying I am skeptical based on the concept.  

No show should always be done in the same way, in perpetuity.  Shows and concepts get dusty.  Many things age strangely.  I'm all for something new as long as the source material is strong to begin with.  Good bones are good bones.

Kaye in Sweeney was the tour of the 2005 Doyle revival with Patti LuPone and Michael Cerveris.  It was brilliant, as the actors were also the musicians.  At least on Broadway, it worked beautifully and the cast was talented enough to handle both jobs.  

While I wasn't a huge fan of the OK revival, I at least appreciated the new arrangements.  The Dream Ballet, however, was fucking insane.

Middle-America audiences rarely understand a radical take, which is why these tours either fail or they only opt for A-tier cities. 

Right now, it's been interesting to see how Shucked has totally changed their show to suit the places they're touring:  Replacing their Tony Award winning trans cast member for a female and hiring Reba McEntire to do commercials, even though the show has nothing to do with her.  It was a smart move for a show that lost their entire nut with the Broadway run.  

[MaybeMaybeNot]

17 hours ago, BenjaminNicholas said:

No show should always be done in the same way, in perpetuity.  Shows and concepts get dusty.  Many things age strangely.  I'm all for something new as long as the source material is strong to begin with.  Good bones are good bones.

Kaye in Sweeney was the tour of the 2005 Doyle revival with Patti LuPone and Michael Cerveris.  It was brilliant, as the actors were also the musicians.  At least on Broadway, it worked beautifully and the cast was talented enough to handle both jobs.  

While I wasn't a huge fan of the OK revival, I at least appreciated the new arrangements.  The Dream Ballet, however, was fucking insane.

Middle-America audiences rarely understand a radical take, which is why these tours either fail or they only opt for A-tier cities. 

Right now, it's been interesting to see how Shucked has totally changed their show to suit the places they're touring:  Replacing their Tony Award winning trans cast member for a female and hiring Reba McEntire to do commercials, even though the show has nothing to do with her.  It was a smart move for a show that lost their entire nut with the Broadway run.  

I don't think a show needs to be done the same way,  but decisions should be made from the director's vision, which shouldn't be guided solely by how to do it the absolute cheapest way possible. I am glad you enjoy the Sweeny staging; it was likely staged the exact same for the tour.  It was to me a case of the emperor had no clothes. Take away the hype, and what is left? Judy Kaye pouring blood into a bucket.

Decisions should also be made following the playwright's intentions.  In Oklahoma! (which the revival director seemed to even reinterpret that exclamation), changing it so Curly shoots Jud does not follow what the genius writers intended.  Takng a character and using the text to find new meaning is an interpretation. Adding to it is a rewrite. 

I am not saying Sunset Boulevard isn't great.  Clearly,  Webber approves it (just like he did the Cats movie). But sometimes,  remove a show from the hype, and people might realize the emperor has no clothes. 

[+ ApexNomad]

I recently got the chance to see the Jamie Lloyd production of Sunset Blvd., and it was well done! Nicole Scherzinger’s portrayal of Norma Desmond is strong, capturing the character’s complexity with both vulnerability and determination. Vocals were beautiful. The minimalist staging effectively focuses on the emotional core of the story, enhancing the overall impact. I thought it was well done and appreciated the fresh take on the material. I’m hoping to see it again with Mandy Gonzalez, who I believe only plays the Tuesday performances, as I’m curious to see her interpretation of this iconic role. Overall, this revival brings a new perspective to Webber’s work and is worth seeing.

[skynyc]

I also appreciated things about the new revival...BN's comment about "Park and Bark" made me laugh, but it's absolutely true...her two big numbers were pretty outstanding. Back Where I Belong has always been one of my fave ALW numbers, but I realized here, it was partly because as the song grew, the folks around her, "recognizing" her, added to the aura of her memory. Here...the silhouetted cast behind her just made her seem so out of place, as to have never been there. 

This Norma was too self-aware to be believed that she was didn't realize her situation. 

However, this Joe Gillis was the first portrayal that created such a Hollywood type that he was completely unsympathetic...which was very interesting. At no moment does he connect with Norma or Betty. 

Am very selective to whom I am recommending this, but I am also curious to go some Tuesday to see Mandy G's take. (I've seen 8 other Normas in more classic interpretations.) 

[Ali Gator]

Patti Lupone was on 'The View' yesterday (Nov 1), and the subject of this revival came up. Lupone said  she's going to be seeing it this coming Wednesday (Nov 6). 

 

[+ ApexNomad]

18 minutes ago, skynyc said:

I also appreciated things about the new revival...BN's comment about "Park and Bark" made me laugh, but it's absolutely true...her two big numbers were pretty outstanding. Back Where I Belong has always been one of my fave ALW numbers, but I realized here, it was partly because as the song grew, the folks around her, "recognizing" her, added to the aura of her memory. Here...the silhouetted cast behind her just made her seem so out of place, as to have never been there. 

This Norma was too self-aware to be believed that she was didn't realize her situation. 

However, this Joe Gillis was the first portrayal that created such a Hollywood type that he was completely unsympathetic...which was very interesting. At no moment does he connect with Norma or Betty. 

Am very selective to whom I am recommending this, but I am also curious to go some Tuesday to see Mandy G's take. (I've seen 8 other Normas in more classic interpretations.) 

Who was your favorite Norma? Mine was Betty Buckley. She was perfect!

Keep us posted if you see Mandy. I’ll be curious to hear your review.

[+ ApexNomad]

7 minutes ago, Ali Gator said:

Patti Lupone was on 'The View' yesterday (Nov 1), and the subject of this revival came up. Lupone said  she's going to be seeing it this coming Wednesday (Nov 6). 

 

Have you see The Roommate with her and Mia Farrow?

[skynyc]

My two favorite Normas were actually Diahann Carroll whom I saw in Toronto...she brought a haughtiness to the beginning that slow faded away to show her vulnerability that was impressive. And Karen Mason who was Glenn's standby in LA and NY. And I believe she did the tour. 

 

[skynyc]

30 minutes ago, ApexNomad said:

Have you see The Roommate with her and Mia Farrow?

yes...posted in that thread. Not a great play but really fun to see MF on stage. I got it cheap and that was good. 

 

[+ ApexNomad]

1 minute ago, skynyc said:

My two favorite Normas were actually Diahann Carroll whom I saw in Toronto...she brought a haughtiness to the beginning that slow faded away to show her vulnerability that was impressive. And Karen Mason who was Glenn's standby in LA and NY. And I believe she did the tour. 

 

I enjoyed Diahann. I didn’t see Karen Mason.

[+ ApexNomad]

Just now, skynyc said:

yes...posted in that thread. Not a great play but really fun to see MF on stage. I got it cheap and that was good. 

 

Thanks, l’ll go find that thread.

[Ali Gator]

I saw SB three times - 1996 with Buckley, 1999 with Petula Clark (the watered down second tour) and 2017 revival with Glenn Close. 

The last two times made me long for the 1996 staging and costumes - in my opinion, the visuals added to the story as much as the characters, dialogue and singing. When Buckley stepped down those stairs for the first time, I was captivated - I went into a time machine and brought inside her Hollywood mansion on Sunset Blvd in 1949 - I was no longer sitting in the Minskoff Theater in the summer of 1996.

Though Close was magnificent in the role in 2017, the 'scaffolding' took something away from the storyline, as well as her more 'basic' costumes. (Clark and the touring production were awful in every respect). I really lost the sense where I was brought back in time to 1949-50 Hollywood, inside the mansion. I never left the Palace theater. 

That's why I'm on the fence with this new revival - the bare-bones staging and the simple costumes are not tempting me. 

I know others see it differently, and don't put as much weight on the visuals (staging and costumes) to enjoy the show - and that's fine. For me, it holds some importance. 

[+ BenjaminNicholas]

2 hours ago, skynyc said:

... but I am also curious to go some Tuesday to see Mandy G's take. (I've seen 8 other Normas in more classic interpretations.) 

Gonzales I like a lot, but it's the stand-by Caroline Bowman who I really want to see do this. 

She was the standby in the last revival of Evita (she also led the tour). Her voice is massive and I think she'd be the best singer of this role out of all three. 

That said, I still feel like no one sang Norma as properly or as well as Betty Buckley. 

[+ ApexNomad]

43 minutes ago, Ali Gator said:

I saw SB three times - 1996 with Buckley, 1999 with Petula Clark (the watered down second tour) and 2017 revival with Glenn Close. 

The last two times made me long for the 1996 staging and costumes - in my opinion, the visuals added to the story as much as the characters, dialogue and singing. When Buckley stepped down those stairs for the first time, I was captivated - I went into a time machine and brought inside her Hollywood mansion on Sunset Blvd in 1949 - I was no longer sitting in the Minskoff Theater in the summer of 1996.

Though Close was magnificent in the role in 2017, the 'scaffolding' took something away from the storyline, as well as her more 'basic' costumes. (Clark and the touring production were awful in every respect). I really lost the sense where I was brought back in time to 1949-50 Hollywood, inside the mansion. I never left the Palace theater. 

That's why I'm on the fence with this new revival - the bare-bones staging and the simple costumes are not tempting me. 

I know others see it differently, and don't put as much weight on the visuals (staging and costumes) to enjoy the show - and that's fine. For me, it holds some importance. 

The original Broadway staging was truly breathtaking. The moment the scrim lifted, it received its own round of applause—you were instantly transported into the world of the show. It was simply beautiful.

But I also appreciated the modern and contemporary feel of the revival. It worked for me in a different way. Producers likely appreciate it too, since it saves money, and we’ll likely never see anything quite like the original set again on Broadway.

And no one can hold a candle to Betty. I had the pleasure of meeting her, and she was the nicest person!

[ShortCutie7]

I saw this tonight!  I loved the production and felt that the minimalism lent itself well to the material. The camera work/projections did not come across as gimmicky at all, and it actually worked SO beautifully that it seemed like the piece was written with the intention of using it. I saw the 2017 revival with Glenn Close and found this production to be more “fully staged” and thought out despite having less set/costumes/etc.  Nicole Sherzinger is giving an extraordinary performance that did seem a bit overacted initially but ended up creating a perfect arc, and she knocked the vocals out of the park.  The rest of the cast was equally phenomenal, and Tom Francis is a star in the making and incredibly sexy (so much so that his worn undershirt was auctioned off after the show and caused a bidding war that resulted in two shirts being sold for $7,500 each).

My one quibble has nothing to do with the show itself, but my seat in the side balcony was literally the worst seat I have ever had for any show… I was lucky that there was nobody in front of me so my view was not terribly obstructed, but if you see it I recommend spending a few extra bucks for a slightly better seat.

[+ ApexNomad]

18 hours ago, ShortCutie7 said:

I saw this tonight!  I loved the production and felt that the minimalism lent itself well to the material. The camera work/projections did not come across as gimmicky at all, and it actually worked SO beautifully that it seemed like the piece was written with the intention of using it. I saw the 2017 revival with Glenn Close and found this production to be more “fully staged” and thought out despite having less set/costumes/etc.  Nicole Sherzinger is giving an extraordinary performance that did seem a bit overacted initially but ended up creating a perfect arc, and she knocked the vocals out of the park.  The rest of the cast was equally phenomenal, and Tom Francis is a star in the making and incredibly sexy (so much so that his worn undershirt was auctioned off after the show and caused a bidding war that resulted in two shirts being sold for $7,500 each).

My one quibble has nothing to do with the show itself, but my seat in the side balcony was literally the worst seat I have ever had for any show… I was lucky that there was nobody in front of me so my view was not terribly obstructed, but if you see it I recommend spending a few extra bucks for a slightly better seat.

The St. James has the worst house seats of any theatre, and that’s with a renovation. 

[+ BenjaminNicholas]

20 hours ago, ShortCutie7 said:

I saw this tonight!  I loved the production and felt that the minimalism lent itself well to the material. The camera work/projections did not come across as gimmicky at all, and it actually worked SO beautifully that it seemed like the piece was written with the intention of using it. I saw the 2017 revival with Glenn Close and found this production to be more “fully staged” and thought out despite having less set/costumes/etc.  Nicole Sherzinger is giving an extraordinary performance that did seem a bit overacted initially but ended up creating a perfect arc, and she knocked the vocals out of the park.  The rest of the cast was equally phenomenal, and Tom Francis is a star in the making and incredibly sexy (so much so that his worn undershirt was auctioned off after the show and caused a bidding war that resulted in two shirts being sold for $7,500 each).

My one quibble has nothing to do with the show itself, but my seat in the side balcony was literally the worst seat I have ever had for any show… I was lucky that there was nobody in front of me so my view was not terribly obstructed, but if you see it I recommend spending a few extra bucks for a slightly better seat.

Glad you enjoyed it, but even more glad the show is raising big bucks for BC/EFA