Sunset Boulevard

This was awesome a total knockout
here's my review for Sydney Arts Guide

http://www.sydneyartsguide.com/View-Review.asp?ReviewID=1299

Michele Lansdown gives a great performance as Norma Desmond Lavish, lush and incredibly spectacular Willoughby Theatre Company has brought us a magnificent production of this Lloyd Webber musical. Enter the world of the movies of the 1930’s to the 1950’s .The show opens in the style of a Hollywood blockbuster , introductory credits screening on the front curtain. Based on the iconic 1950’s film starring Gloria Swanson and William Holden it is a murder mystery in classic film noir style, told in flashback by the victim Joe  as narrator. This show requires a HUGE amount of extras/chorus , especially for the Paramount studio scenes and Willoughby Theatre Company does not disappoint. The plot centres on Norma Desmond , a faded superstar of the silent movie age , now lonely and reclusive, forlornly awaiting a call from the great Cecil B. De Mille to return to the screen for her adoring fans . She unexpectedly meets Joe Gillis, an impoverished writer, and sees in him her last chance to make a come back with a remake of SALOME that she has scripted herself.  Joe is dragooned into helping adjust and rewrite the script and become Norma’s latest toy-boy. The orchestra , hidden in the pit , are excellent under the stirling conducting of Greg Jones. Lloyd-Webber’s music in this show is a cross between opera/classical and rock – if you listen closely you can hear tiny phrases similar to sections from ‘Evita’, ‘Phantom of the Opera’, ’Jesus Christ Superstar’ and ‘Aspects of Love’. In some ways it is a ‘verisimo opera’ for our times. Sometimes the lush, flowing music is a trifle repetitive and there are a number of reprises to drive the points home.  Norma has a leitmotif drawn from her first solo, ‘Surrender’. The huge sets by Simon Greer, especially Norma’s huge white house, are exquisite. Of particular note is the huge fireplace and mirror in Norma’s house and The Staircase for her entrances/exits. And i loved the elegant huge car she has. The huge hangars of the Paramount studio were also great. What I did find distracting was the visible use of the cast as scene changing crew, but one became used to it. As our leading man and narrator young blonde, handsome Morgan Cleary as Joe Gillis the writer was excellent .He was in fine voice and gave a magnificent performance .Joe holds the key to all the assorted tangled relationships in the show and helps glue the twisted plot together. The mysterious, enigmatic  Max von Mayerling , part butler, chauffeur , general dogsbody , ex movie director – and  Norma’s first husband - was marvellously played by Patricio Ulloa always appropriately elegantly dressed with white or black gloves . He is devoted to Norma and oozes protective menace. His leitmotif is ‘The Greatest Star of All’ sung in a terrific baritone (almost tenor ) . The leading lady Norma Desmond, is a role to die for, and Michele Lansdown seizes it and makes it her  own. In a knockout , ravishing performance  she is the reclusive fading screen queen . Norma is a fragile control freak, with huge eyes and glorious voice she dominates the stage from her opening ‘Surrender’ and the following ‘With One Look’  has the audience in the palm of her hand.  At times, at home alone with no wig or makeup, she is fragile and pitiful and, at other times , she is imposing and luminous. Her descent into madness at the end, with one of the most famous quotes in cinema history , is chilling and a stunning performance that totally grabs you. And oh…the fabulous costumes!!  Norma is always in Beardsley like elegant black and white assorted stunning costumes designed by Joy Sweeney.The final outfit, dripping pearls and with a silver cape, is one of the many highlights. Betty Schaeffer , who collaborates with Joe on a script and ends up falling in love with him, is a sweet pretty  yet feisty young woman  marvellously  played  by Elizabeth Garrett .She shines in her duet with Joe ‘ Too  Much in Love to Care ‘ and before that the ‘Boy Meets Girl’ parts one and two . While there were perhaps a few small technical glitches- opening night nerves perhaps- which I am sure will be fixed, this is a glorious, stunning production not to be missed.   The Willoughby Theatre Company’s production of Andrew Lloyd Webber’s SUNSET BOULEVARDE, directed by Simon Greer and Andrew Castle, opened at The Concourse Chatswood on Friday November 16 and runs until Saturday November 24, 2012. © Lynne Lancaster 18th November, 2012 Tags: Sydney Theatre Reviews- SUNSET BOULEVARDE, Concourse Chatswood, Andrew Lloyd Webber, Willoughby Musical Society, Sydney Arts Guide, Lynne Lancaster.

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