SUNSET BOULEVARD

By Celia Ipiotis

A musical revival of Sunset Boulevard, based on the film noir classic, sets the mood from the moment you enter the darkened St. James Theater. An excellent ploy to establish ambiance, I fear it was dicey for some of the elderly folks struggling to find their rows, let alone seats.

Stripped down to a bare bones production, black and white dominates the color scheme for the costumes and scenography by Soutra Gilmour. Shamelessly campy and over the top, the uniformly top-notch cast is vigorously led by the compelling Nicole  Scherzinger (Norma Desmond, an eclipsed silent film star) and Tom Francis (Joe Gillis), a floundering Hollywood screenwriter.

To start, do not expect the usual, lavish Andrew Lloyd Webber production. No, instead, the skilled director Jamie Lloyd delivers a deconstructed, experimental staging more on the par of Meredith Monk. Shafts of light, smoke machines, pools of darkness and live video  establish time and place in this manic encounter with ambition and self-deception. 

Struggling to be accepted as a writer in LA, Joe is in debt to gangsters who intend on damaging him and more importantly, his car. There is one person in this souring environment who retains hope, that’s Betty Schaefer (Grace Hodgett Young). She believes good work can survive the mediocrity of the Hollywood machine and insists Joe can make it. 

Before a word is uttered, dancers claim the stage in  crafty, modern dance movements that weave and undulate through the dark mass. Barefoot and dressed in a black, spaghetti strap shift, Norma exhibits a tense sinew and outsized vocals. She’s surrounded by similarly costumed actors wearing black bottoms and white tops, or all black. A strength of the production is the collaboration between the director and choreographer Fabian Aloise. Dramatic points are underscored through movement or a look–yes, there are lots of “looks” at the camera.

Aloise’s choreography suits the moody atmosphere, effortlessly evolving from the dramatic content. Musically, well, it’s Andrew Lloyd Weber. With book and lyrics by Don Black and Christopher Hampton, soaring solos, lush melodies and repetitious passages abound. Easily quoting himself, the most obvious “lift” comes from the wildly popular Phantom of the Opera. Of course, everyone and most importantly  Scherzinger soars over the high notes that travel to the back of the balcony.

When Joe lands in Norma’s mansion, he’s managed by her butler Max von Mayerling (a commanding David Thaxton). Tall, forbidding and enigmatic, he protects Norma like a Griffin. Joe, Norma and Max frequently form a trio of tension standing in pools of light by Jack Knowles tightening the ongoing attraction and repulsion binding these three.

Defined lips, and balletic erectness accentuate Sherzinger’s imperious presence, but unlike the 1950’s film featuring the mighty Gloria Swanson at age 49, Scherzinger presents as an attractive, slim, domineering woman of extreme personality traits. Although she retains outmoded ideas about the film industry, she’s very much a woman in charge, intent on grabbing her rainbow. An elegant dancer, Hanah Yun Chamberlain materializes as the “Young Norma” physicalizing Norma’s haunting memories of a youthful past through movements full of yearning back arches. 

After intermission, Joe slips backstage with Shayna McPherson’s camera following him down staircases (part of the time she walks backwards down stairs), past cast members flirting, messing around until exiting the theater. Regardless of the weather, and this was a chilly day, Joe and crew appear in front of the theater. Passers by either walk along nonchalantly or stop to gawk as he belts out the title song Sunset Boulevard. Split second timing between live and recorded elements are the result of Nathan Amzi, Joe Ransom and Lloyd’s meticulous preparation. Much like a wake-up call to the audience announcing “this is live theater baby!” he busts back into the theater to charge up the rest of the show.

EYE ON THE ARTS, NY — Celia Ipiotis