Now, I’m on record here and on my podcast staking my claim to Jesus Christ Superstar being my favourite score from Andrew Lloyd Webber, and I will live and die on that hill, but the more I become acquainted with the music and the show, Sunset Boulevard is a very close second. The show first came into my life back in 2018, when Leicester’s Curve production, of course based on the Billy Wilder film of the same name came a tourin’ to my local, the Bristol Hippodrome. It was such a phenomenal production that brought some amazing performers into my life, some of whom are now familiar favourites, and was my very first (and one of only two to date!) five star reviews I’ve given during my time writing for BroadwayWorldUK!
Certain shows will find ways of staying with you, and as I was reminded last night: in ways that will surprise you and take your breath away all over again! The team at Leicester’s Curve theatre have revisited their 2017/18 production for an online stream, and the result is nothing short of extraordinary. Having recently transformed their two spaces into one to allow for appropriate social distancing before the pandemic scuppered theatres re-opening plans once again, what it offers is a unique opportunity to be inventive in the design, and Colin Richmond’s vision meets that challenge head on: every inch of the theatre is played with: the stage itself with a revolve, up in the lighting rig, back of stalls, dress circle and so on, it’s immensely playful and gave the show’s exploration of what goes on in front of and behind the camera a striking new poignancy. It often feels really filmic in scope, and there’s real energy and excitement from the way the team at Crosscut Media have captured proceedings, and in Douglas O Connell’s video and projection design – as someone who doesn’t always get as close a vantage point as I’d like at a good majority of theatres, I loved the opportunity that playing to a camera gives – you see things in greater detail, notice more nuances and so on. The whole production showcases a wonderful combination of theatre and film, and I’d love to see more of this going forward! The 16 piece orchestra, under supervision from Stephen Brooker sound sublime and Ben Cracknell’s sumptuous lighting- red, blues and warm golds are incredibly evocative. Sure, seeing an empty auditorium is tinged with sadness given the current state of the industry, but I cannot stress enough how vividly this production made me feel everything I would have felt had I been sitting there with such glorious intensity.
Director Nikolai Foster showcases once more a gift for the powerful being in the subtlety – I got a real sense of wanting there to be a sense of stillness, a slower burn to proceedings, which I think comes down to playing to the cameras, rather than a live audience that captivated me and allowed me to look again at a show I knew and find new depth to delight in! It’s a testament too, to an incredibly talented ensemble cast who bring a polished sheen to proceedings, it’s incredibly easy to forget that they’re all working socially distanced and bring such energy and ease to the auditorium.
Having seen Dougie Carter play the role of Joe Gillis when I saw the show in person (he usually plays Artie!), I took great joy seeing Danny Mac in the role – he’s incredibly suave and charismatic. I vividly remember feeling rather conflicted about how I was supposed to feel about Joe throughout moreso than the first time around and that fascinated and excited me immensely. Having known him for his television rather than his stage work, I was intrigued to hear him sing and was suitably impressed! He also shares a palpable and endearing chemistry with Molly Lynch’s sweet and sassy Betty Schafer.
(Credit: Marc Brenner)
Adam Pearce is once again on mesmerising form as Max, Norma’s devoted butler who is determined to shield his mistress from devastating truths. His vocal has always astonished me, not only for his range but moreso how intensely it moves me – I had chills throughout The Greatest Star of All. Max cuts an imposing figure, but Adam balances this presence with great warmth and sensitivity that make the emotional reveals in the piece all the more hard hitting.
Anchoring it all is Ria Jones as faded film star Norma Desmond. This role will always be special to me where Ria is concerned now as it’s the one I first saw her play. After that I followed up with Rose in Gypsy, no less…so it’s safe to say Ria has cemented her reputation in my theatregoing world for playing formidable, beautifully complex women! And with that, long may she reign as the depth she brings to Norma never fails to take my breath away: her body language and eyes are so expressive even in the most minute of ways that can totally shift the tone or power in a scene, my eyes were drawn to her and I was consistently wondering how Norma would react and what she thinks – being kept on my toes like that as an audience member is always thrilling!
I get the sense that Ria loves and understands the role so well too, having originated it in the 1991 Sydmonton Festival workshop, and that’s always a delight to feel – her vocal remains as effortless and powerful as when I first heard it back in 2018, and yes, there were many a round of applause for her from my dining room table!
I’m so grateful to the cast & creative team at the Curve for the whole experience at a time that’s been so horrendously difficult for them as artists and for us audience members who love & are missing what they do – Sunset Boulevard has found its way into my heart thanks to you all and I’m perfectly content for it to stay there!
Wheelie Stagey 