by Trudi-Rose Edwards
★ ★ ★ ★ ★
Andrew Lloyd Weber’s iconic musical Sunset Boulevard returns to the West End for a limited run with Nicole Scherzinger starring in the leading role of faded silent film star Norma Desmond at the Savoy Theatre.
The plot follows Norma Desmond (Scherzinger, and Rachel Tucker on select performances) a forgotten star of the silent screen era who lives with her butler Max (David Thaxton) in her mansion on Sunset Boulevard. A chance encounter with down-on-his-luck screenwriter, Joe Gillis (Tom Francis), presents Norma with a way back to the big screen. But as her grip on reality slips, tragedy isn’t far away.
Those familiar with the 1950 Billy Wilder film, or indeed the original 1993 West End production, might be expecting an evening of lavish Hollywood glamour. But in an ironically audacious move, director Jamie Lloyd strips the show of all extravagance by forgoing all props, sets and costumes, and presents the drama in black and white in what has become his signature minimalist style.
It’s certainly a departure from Sunset Boulevard’s usual style. And for those unfamiliar with the plot, there may be some instances where too much is left to the imagination. However, the sparse staging creates an eerie quality and heightens the themes of horror and madness, which are usually more prevalent in the original film than the musical. This is particularly evident in the scenes at Norma’s house, where the once prolific star lingers in the shadows, searching desperately for the figurative and literal spotlight.
Lloyd’s use of black and white evokes the original film and harkens back to the days of old Hollywood. The use of on-stage cameras that project extreme close ups of the cast is another, creative homage to the silent movie era. Norma mugs the camera with gusto, whilst Joe uses it to break the fourth wall and address the audience directly. A particular highlight concerning the use of cameras (and a highlight of the play overall) takes place during the titular song at the opening of Act 2. Without spoiling what is an excellent piece of filmmaking, let’s just say: get back to your seat after the interval, pronto (and yes, it is live)!
Sunset Boulevard shouldn’t need a big name to lure in audiences, but after a long absence on the West End it is no surprise that Nicole Scherzinger’s starring role is being hyped for all it’s worth. That’s not to say her casting is a stunt – anyone with ears knows she’s an excellent singer and she brings with her an allure worthy of the role of Norma Desmond. Her hair-swishing and camera seducing pouts are apparent from the promotional pictures alone, and the cast certainly leans into the ‘Nicole Scherzinger is here, isn’t it fabulous’ schtick on a number of occasions, which is fine, but a touch jarring when you’re watching Rachel Tucker’s Norma.
Rachel Tucker guest stars on Monday nights and, as a West End and Broadway veteran, brings some more ‘traditional’ musical-theatre pizzaz to the role. Over the years Norma Desmond has been played by some of theatres biggest divas – Elaine Paige, Patti LuPone, Glenn Close, Rita Moreno, to name just a few – and Rachel Tucker’s execution of the two showstopper songs are worth the ticket price alone. In contrast to Nicole Scherzinger’s more vulnerable and sad Norma, Rachel Tucker leans into the madness that runs through the character which culminates in a devastating final act.
The rest of the cast are sensational too. Tom Francis is a great leading man; charming, deadpan and charismatic and that’s without commenting on his excellent vocals. David Thaxton is just the right balance of creepy and funny as Max, Norma’s butler and chauffer, and has a wonderfully soaring baritone. Grace Hodgett Young makes her West End debut as Betty Schaefer, a budding writer and Joe’s love interest. Betty is a wonderful contrast to the eccentric Norma and Grace Hodgett Young plays her with sincerity and the right amount of spirit to keep her an interesting character. Her wonderful soprano voice and the subtleties of her acting suggest a bright future on the stage.
Above all, however, what makes Sunset Boulevard so captivating is its music. The 17-piece band is superb and performs the almost cinematic score with aplomb. It’s testament to the musicians when, in a musical that features two of Andrew Lloyd Weber’s finest female solos, one can still leave the theatre humming the overture.
The aforementioned solos, With One Look and As If We Never Said Goodbye, are definite highlights but so are the lesser-known numbers. The transatlantic whimsy of the 1950s is captured wonderfully in the chaotic opening number Let’s Have Lunch; Girl Meets Boy is a gorgeous back-and-forth duet between Joe and Betty (complete with engaging camera work); and the frenzy of The Final Scene is breath-taking.
Sunset Boulevard is an underrated and often unappreciated entry in Andrew Lloyd Weber’s vast collection of success. It’s a ‘grown-up’ musical that hits all the marks – beautiful score, iconic songs, and a sharp, engaging script. It also, mercifully, spares the audience from enduring “one of those theatre songs nobody likes” (here’s looking at you, Wicked’s A Sentimental Man.)
Whether you’re watching Nicole Scherzinger’s captivatingly tragic Norma, or Rachel Tucker’s grandiosely manic take, you’re in for a sensational night of magic and madness.
Sunset Boulevard is playing for a limited run at the Savoy Theatre from 21 September 2023 – 6 January 2024. Tickets are available from £20.
Pics by Marc Brenner