Sunset Boulevard – Savoy Theatre 2023/24

Given that NS was given the role over a British actor, isn’t there a chance that a reciprocal arrangement could be made to get Tom over to Broadway?

I am sure they should be able to get Tom over there.
I think the question is more would they be able to get David Thaxton over as well.
(Grace will be in Hadestown so guess that's that part answered).

Isn't this transferring in the latter part of 2024?  If so, that could give Grace potential to transfer with it.  I understand she starts Hadestown in February although I'm not sure how long her initial contract is for.  I'd love for all four leads to transfer.  They all did an outstanding job, I really can't imagine this with a different cast. 

Yes.  At Guys and Dolls before Christmas, my parents had travelled 650 miles for their pre-Christmas theatre fix and some complete and utter attention seeking a-hole insisted on clapping early even before final notes had been sung along with the pretentious "bravo".  It's the height of smug entitled rudery and spoils it for pretty much everybody else.

Someone posted a sneaky clip of Nicole singing during the show, and one person commented 'Would love to see her in full costume and character...'. Eeeeeeeeerrrrrrmmmmmm....

Of course she will. Who else would they have voted for? *looks at camera*

I went to see the matinee of this today - my last show of 2023. I have to say that I nearly did not book this when it was announced. The casting just did not inspire me, and I felt that Scherzinger was all wrong for Norma - no proven acting chops, the wrong age etc, and I love SUNSET too much. Well, I am happy to be proven wrong!

Starting with Nicole, she is perfect for this production’s interpretation of Norma. She is mad from the start, giving a very physical performance, rolling around the stage, convulsing and undulating in any number of body contortions. The sexual attraction between her and Joe is played up to the max and works. The singing, whilst not to my taste, is also done well enough. Her sustained ‘Home’ during ‘As If We Never Said Goodbye’ stretches the boundaries of good taste, and musicality for me, but I can understand dramatically why this was a choice. The audience clearly loved it though. She got a smattering of standing ovations from people in the Stalls after that song.

It is the other members of the cast that really impress though. Tom Francis as Joe is the standout, giving a stellar performance. I also really enjoyed Grace Hodgett Young as Betty. She gave a lovely performance that really benefitted from the close glance of the camera at certain moments. David Thaxton gave a slightly different take on Max that was very welcome.

It is the staging and direction that really makes this production of SUNSET however. It is just incredible! There are so many moments that just make this pop!

The Car Chase, with the title sequence, and stylised, contemporary movement from the company was a fantastic start.

The Entr’acte is nicely staged, with various ‘Easter Eggs’ and nods to past productions (starting with the watching of the original film, Nicole’s turban, the chimp costume, ‘Mad About the Boy’ on the mirror, the gun, the cut-out of Andrew Lloyd-Webber).

The Title Song is an amazing technical feat. The sound and video come across perfectly, and are in sync throughout. I am not sure how they managed this from the Theatre, all the way down the Strand, and then back into the Theatre, but it is absolutely to be commended.

The Hog-Eye moment in ‘As If We Never Said Goodbye’ still got me (just like in the ENO staging). The lights, the wind machine, the smoke, the swell of the orchestra! I had chills and tears in my eyes! Just beautiful!

Finally, Joe’s Death and Norma ‘s Mad Scene are absolutely breathtaking! The best version of these final moments that I have ever seen. The lighting (or lack of it in places), the blood! Again, I felt a little emotional seeing this - the first time that this has happened at this particular part of SUNSET. Nicole’s mad scene was truly unhinged.

The lighting throughout is a real hallmark of the production.

The use of Young Norma, floating in and out was a masterstroke. I also liked how certain characters lingered or walked across the stage when they were clearly in the back of the mind of the characters (such as Norma staying on stage throughout ‘Too Much In Love to Care’ and during most of Joe and Betty’s interactions, or Artie walking across the stage when Betty can clearly thinking of him).

It was just refreshing to see a show I know well given such a radical that kept you guessing and on the edge of your seat. It was like seeing a completely new show. The line readings were also so different (with more modern anachronisms in places) that this too was surprising.

There were cuts to the material, and changes to lyrics, but what was there originally was not missed. I actually prefer it without ‘The Lady’s Paying’. Are there some cuts in ‘Too Much In Love to Care’?

This was clearly not a traditional SUNSET. It was as if Nicole in 2023 was seeing parallels between Norma’s life and her own (she a slightly faded pop singer), and was reenacting Norma’s story in her own head imagining how this would play out now (hence the modern style), giving a very meta interpretation of the material. However, that being said, it very much honoured the source material with the silent movie stylings and delivery, as well as the very obvious reliance on the film medium, as well as leaning heavily into the camp.

My only slight quibble would be that, if I did not already know the material, and was seeing SUNSET for the first time, would I have been able to keep up with what was going on? The lack of props and scenery could potentially cause confusion to the story-telling.

Oh, and the orchestra sounded gorgeous, helped by wonderful sound design!

This should definitely be winning awards for direction, lighting and sound design. This is my first Jamie Lloyd production, but will definitely not be my last.

I went with 4 stars, as I had minor issues with it, but still an absolutely incredible production, that I have been thinking about ever since I saw it this afternoon. I wish I could see it again!

Who was confused by it? Certainly not the poster above, nor the majority of people who have seen it. So clearly not style over substance.

You would think it because you didn't like it.

Sorry just a question I feel like with one look didn't have the key change down at the end am I correct or just mishearing?

You are correct in saying that the key change is still there, but it comes in the short orchestral section within the song. I think by doing it this way, though, it does seem to make the song ending (the final ‘I’ll be me….’) slightly higher in tone than Buckley/Close, but slightly lower than the LuPone original. The changing of the key at that point works well and is somehow less ‘jarring’, I think.

Both of these would be good news but how do you know these things if you don’t mind me asking?!