“The cast as a whole are excellent – Tim Draxl, as Joe Gillis gives a standout performance and is roundly supported by Ashleigh Rubenach’s Betty Shaefer [and] Robert Grubb“
Suzanne Mackay
3 Stars
SOH
Sydney
28 August – 1 November 2024
The history of Sunset Boulevard as a story is a long and iconic one, starting with Billy Wilders 1950 film of the same name. Reportedly inspired by the mansions along Sunset Boulevard in Hollywood – when it was still Hollywoodland – and a curiosity about their inhabitants, gave birth to the legend that is Norma Desmond, the faded silent movie star. To say she’s undergone a kaleidoscope of iterations is an understatement. From the original film starring Gloria Swanson, a massive success and eleven Oscar nominations to boot, it’s journey to the stage passed through the hands of Gloria Swanson herself, in an art imitating life story of its own – Sondheim came tantalisingly close, Kander and Ebb, Hal Prince all took steps to get it on the stage but the wheel stopped spinning and it finally landed on Andrew Lloyd Webber to get it across the line. And here is where the legend falls flat.
The role of Norma Desmond has itself become a sort of torch passed between actresses of a certain star wattage – with Patti Lapone, Glenn Close, Debra Byrne, Glenn Close again and now Sarah Brightman – each performing the lead role at some stage in their careers. So it can’t be without merit, but this production lacks the gravitas to understand why it’s been so iconic. The cast as a whole are excellent – Tim Draxl, as Joe Gillis gives a standout performance and is roundly supported by Ashleigh Rubenach’s Betty Shaefer, Robert Grubb being another notable performance with his beautifully still, haunting portrayal of Max Von Mayerling. The chorus are tight and sharp, the set, costumes, lighting and choreography are magnificent, all capped off by a taught orchestra. It should work and while it’s fun to watch, it’s missing shade, the dark undertow which would give it a third dimension.
Sarah Brightman should embody Desmond’s imposing fragility, but somehow seems to shrink in the spotlight. Her character comes alive in the scenes with Draxl but falls away as she begins to sing, as if the effort pulls her away from Norma, making it hard to see how she could have bewitched the young writer, and her movement feels awkward and not at all natural. I found myself wondering how the musical may come together with a more imposing or charismatic Desmond at it’s centre.
In the end however, it’s the score and script itself which seems the hardest obstacle to overcome. It feels like a miss mash of musical repetition with expositional lyrics. The score also lacks contrast and darkness, it feels almost one-note and with lyrics which do nothing but add to the saccharine sweetness, this production didn’t quite have the spice needed to overcome it. Again I found myself wondering; this time about what could have been if Wilders story had been brought to the stage with Sondheim level darkness or if Loyd Webber had allowed the relationships to be at the core of the story, rather than flitting past them to get to plot points or turning characters into caricatures. Finally, I wonder what the extraordinary cast of local talent could do, if someone were willing to risk the new and different here in Australia.
Suzanne Mackay, Theatre Now
