1,484 posts
|
Post by theatrefan62 on Sept 22, 2023 9:11:39 GMT
For anyone thinking of rushing out now and spending circa. £150 on a ticket on the basis of a first night reaction from fans on Theatreboard - who paid very good money to attend a first preview - I would strongly advise against it. I have done both sides. We all know emotions run high after a show in the moment, people say things like “best version ever”, then have the post-show comedown and reflect. I personally know three separate parties who attended tonight and absolutely loathed it. I think it’s exactly what I predicted. Jamie Lloyd production, doing Jamie Lloyd tropes. If you like Jamie Lloyd’s work you’ll love it, if not it’s like a theatrical hell. Very valid point. Never good to listen to first preview reviews as gospel as it's often one extreme or the other. Beanie in Funny Girl got a lot of praise from early reviews, but look how that turned out lol |
|
86 posts
|
Post by woobl on Sept 22, 2023 9:12:22 GMT
Sounds like a version of the trick he did with A Dolls House where Jessica Chastain walked out of the dock door into the street Oh, THAT's what happened at the end of A Doll's House! I was sitting in a good seat, but that final moment happened totally out of my sightline, and I imagine that was also the case for around 50% of the audience. I mean, I guessed that's what was happening - from the slightly amused reaction of people sitting in the other half of the theatre - but still... it was a bold (and somewhat infuriating) choice. Same as the Menier transfer of La Cage at the end of Act 1 (although technically was a fire escape..!). |
|
|
|
Post by danb on Sept 22, 2023 9:18:13 GMT
Without trawling through 40 pages, can anyone tell me what the random days off are that NS has? Am I safe if I buy the 7th Oct? Nicole has Mondays off as scheduled. Cheers, I knew that but I thought that there were some random Tucker shows dotted throughout? |
|
1,432 posts
|
Post by BVM on Sept 22, 2023 9:41:35 GMT
So I think I've more or less composed my thoughts after last night.
SPOILERS ahead and all views very much IMHO.
Overall, I thought this was stunning. I don't think I have ever seen such a perfect first preview in my entire life - it looked like they'd been performing it for weeks. The music sounded incredible, I don't think I've ever heard it sound better. Sound design was awesome. I was 2/3 way back in the Circle on a side aisle, not always a great place for sound (huge bug bear of mine) but it was perfection. No missed mic cues, no missed lighting cues, not a single foot out of step in the choreography. It was beyond professional. I only noticed two teeny things amiss. Nicole flubbed a line in the "Mars is transiting Jupiter" spoken section, and another tiny line flub in second act, but I am really nit picking now. Everyone sang perfectly and honestly I didn't need convincing that ALW is the most talented composer of all time, but my God this score is breathtaking.
As for the production. It was 100% Jamie Lloyd. Well, his only other production I have seen is Evita. But it was 100% how everyone on this forum describes Jamie Lloyd. Virtually no set (it's basically just one big tilting screen). Check. Nicole barefoot throughout. Check. Virtually no costume changes. Check. Extensive use of real time film and video. Check. Modern costume. Check. Black and white. Check. Highly stylised. Check.
I can totally see how for some people this simply won't be their thing. To be honest had someone told me 10 years ago that a version of Sunset performed entirely in black and white with hardly any set would be my thing, I'd have laughed. But the vision he has created is so stylish, so clever, so intense, so dark, brooding and mysterious, so powerful. I was honestly blown away.
David Thaxton is a fantastic Max. Such a physical presence with such a strong voice. The tortured first husband so clearly still in love with Norma.
Grace Young was wonderful as a very different Betty. She's stronger, more independent, sassier, confident. The lyrics to Girl Meets Boy have been re-written (in both acts) such that she sees straight through Joe's cynicism, self doubt, anxiety. She's idealistic and naive yet true to her belief in Joe's heart and ability.
Tom Francis as has been said is simply a megastar. Like the Narrator in Joseph he doesn't have the two most famous songs but he carries this show on his shoulders. It's a more physical role in this production and his stamina must be insane. Surely one of our rising stars. Deserves to win all the awards for this. The opening of Act 2 was unlike anything I'd ever seen. If it's filmed it's great. If it's live, then wow.
Which brings me onto Nicole Scherzinger. This is no doubt the character where opinions will be the most divided. Joe could more or less have been a Nunn's Joe. Nicole is not a Nunn's Norma. This is a Lloyd Norma. First and foremost to me is the voice - and she's incredible. She sang the hell out of this and I loved it. There's a vision of Norma that her and Lloyd have created and she's 100% committed to it. I loved it. Others may not.
I wasn't quite sure who Norma Desmond was meant to be. So many references to film and silent movies and "names" (like Clara Bow and Fatty Arbuckle) have been removed. There is also not much in the way of visual cues that this is about Hollywood. My take was almost like she was some kind of present day social media influencer (I know written down that sounds dire - in situ it wasn't). Some Love Island contestant who had got big on the back of that kind of world. And then the world immediately forgot her. She had gestures and accents and expressions that I think fit in that world. But whatever the vision was she owned it and delivered it. I wonder if Lloyd was making a statement about the self obsession, the narcissism and the beauty of these basically talentless people. Who age immediately. It's now "nothing's wrong with being 40, unless you're acting 20." I need to think more about this one and will be fascinated to hear what other people think. But yes this was a new take on Norma Desmond - no mistake about that.
Whole thing was also incredibly sexually charged. The passion between Joe and Norma then between Joe and Betty was so believable. There was a break in the middle of Too Much In Love To Care where the music swelled and they kissed. Artie's face appears - totally heartbroken. Who knew you could care so much for that character.
Lighting was amazing. Dance was amazing. Theatre smoke constantly. Insanely theatrical.
Sorry, am aware am using endless superlatives, but it was that good. I am aware that first preview fans dropping all out raves can be slightly tedious! It really won't be for everyone, I totally get that.
Am now DESPERATE for a cast recording which this being the UK and an ALW revival in 2023 will no doubt never appear.
Overall, this is easily for me the best version of Sunset to have been staged in the UK since The Adelphi. Every other production I have ever seen I've sat there thinking "it's good - but I miss Napier's set and the mega musicals so much." This was so different that after the first few minutes I didn't think of previous productions at all.
Tom Francis is easily my favourite Joe ever equal with Kevin Anderson.
You can't compare Nicole with Nunn's Normas as it's too different, but my favourite three have always been LuPone, Buckley and EP. And my holy trinity has just become a 4.
ALW has often been criticised in the last decade or so for shows "not knowing what they want to be" and having too much creative control. Whether people will love or hate this it absolutely knows what it wants to be and has delivered that. And whilst I don't agree with much of the stuff about RUG being bad producers, here, like with OAT JCS and Evita, ALW has handed over the piece in it's entirety and let someone else bring it to life their way. And I think it's payed off. Amazing stuff.
5 very easy stars.
|
|
8,148 posts
|
Post by alece10 on Sept 22, 2023 9:56:54 GMT
Nicole has Mondays off as scheduled. Cheers, I knew that but I thought that there were some random Tucker shows dotted throughout? I'm sure there are some other dates too when Nicole is on holiday. There maybe something on the website. |
|
|
|
Post by theatrelover97 on Sept 22, 2023 9:58:30 GMT
It sounds like I will enjoy it but the people I'm going with tend to hate anything non traditional so they not going to be impressed at all. They hated Cabaret and Streetcar because of the lack of sets for example
|
|
3,478 posts
|
Post by ceebee on Sept 22, 2023 10:03:08 GMT
Two great reviews so far from first-nighters - thank you both so much for such lucid and vivid writing. I am seeing this show tomorrow and will try to report back, though I doubt with such finesse.
From what I've seen online, the video section is live - whether it will be every performance, who knows, because there's always the risk of an exuberant attention seeker gatecrashing things. However, Nathan Amzi (responsible for the videography and who also played a brilliant Annas in JCS and Magaldi in Evita) confirmed that it is live.
|
|
8,148 posts
|
Post by alece10 on Sept 22, 2023 10:05:26 GMT
Great review BVM. Almost as if you had written my thoughts but expressed them better.
My excuse us I have a cold and just tested positive for Covid so my brain is a bit muddled.
I went with a friend who had never seen the musical before or even heard of it but has just sent me a message to say she wants to go again.
I have a feeling newbies to the musical will get the most from it as they have nothing to compare.
Also agree on how polished it was for a first preview considering that it is quite technical and the sound was absolutely perfect and not a single sound cue going wrong.
|
|
1,432 posts
|
Post by BVM on Sept 22, 2023 10:06:03 GMT
Two great reviews so far from first-nighters - thank you both so much for such lucid and vivid writing. I am seeing this show tomorrow and will try to report back, though I doubt with such finesse. From what I've seen online, the video section is live - whether it will be every performance, who knows, because there's always the risk of an exuberant attention seeker gatecrashing things. However, Nathan Amzi (responsible for the videography and who also played a brilliant Annas in JCS and Magaldi in Evita) confirmed that it is live. In that case it's insane! Honestly never seen anything like it in my life. Won't be for the people who don't like "meta" but wow. The guy is basically running a marathon and singing (perfectly) at the same time! |
|
|
|
Post by bobbievanhusen on Sept 22, 2023 10:08:36 GMT
I'm really looking forward to this now. You have to applaud someone who takes such big swings at something, even if some of them don't land, especially in such a high profile show with a big name attached.
|
|
1,432 posts
|
Post by BVM on Sept 22, 2023 10:09:35 GMT
Great review BVM. Almost as if you had written my thoughts but expressed them better. My excuse us I have a cold and just tested positive for Covid so my brain is a bit muddled. I went with a friend who had never seen the musical before or even heard of it but has just sent me a message to say she wants to go again. I have a feeling newbies to the musical will get the most from it as they have nothing to compare. Also agree on how polished it was for a first preview considering that it is quite technical and the sound was absolutely perfect and not a single sound cue going wrong. Oh no, hope you get well soon. Though 'Covid brain' may even enhance this bonkers Sunset experience further. Yeah sound design, mic cues, perfect vocals, orchestration and musical direction are total obsessions of mine - so to hear the musical sound so stunning on preview 1 delighted me. Am also fascinated to hear what people who have never seen the show before take from it and what they think this Norma Desmond is all about :-) |
|
8,148 posts
|
Post by alece10 on Sept 22, 2023 10:10:37 GMT
The amount of rehearsal that must have gone into that scene as its all down to perfect timing to the second. He has to walk into rhe theatre just at the right second to hit the last note. Even 1 or 2 seconds out and its ruined.
|
|
913 posts
|
Post by karloscar on Sept 22, 2023 10:28:28 GMT
Please tell me Joe's demise is an exact replica of Roxy Hart's "Oh Fred...(oh fred) Nobody walks out on me!!....I gotta pee!." Costumes seem perfect for it.
|
|
|
|
Post by mattnyc on Sept 22, 2023 10:48:26 GMT
Have a ticket for tonight I posted on noticeboard that I can't use thanks to Sondheim rescheduling, if anyone is wanting to go tonight.
|
|
3,478 posts
|
Post by ceebee on Sept 22, 2023 11:07:25 GMT
The amount of rehearsal that must have gone into that scene as its all down to perfect timing to the second. He has to walk into rhe theatre just at the right second to hit the last note. Even 1 or 2 seconds out and its ruined. I need to see it for myself tomorrow but I've a hunch it might be a mix of pre-record and live as my own experience tells me this is way too risky to achieve every night. Either cuts between live/pre (unless it's one long continuous sequence) or live from the point he enters the building, in which case they can claim it's live. I'll try and work it out tomorrow - whatever, it sounds mesmerising and brilliant. I love it when theatre fuses across different media. |
|
460 posts
|
Post by pianowithsam on Sept 22, 2023 11:12:14 GMT
Am trying to book the £20 promotional tickets but it’s saying ‘Promo code is not valid for this event’. I’ve tried numerous dates.
Are they no longer doing it?
|
|
19,757 posts
|
Post by BurlyBeaR on Sept 22, 2023 11:30:09 GMT
Ticket for tonight on the Noticeboard- seller accepting offers.
|
|
4,178 posts
|
Post by HereForTheatre on Sept 22, 2023 12:51:35 GMT
I love how Theatreboard gets ripped to shreds for negative reviews and toxicity, putting people off shows ect but you never hear when it actually makes people go to things instead because of it going down well. The amount of free PR and extra ticket sales this site has given certain shows I'm sure more than makes up for the amount it might have lost them.
|
|
|
|
Post by newyorkcityboy on Sept 22, 2023 12:53:40 GMT
Eager to see it. It sounds like Sunset crossed with David Lynch! As a fan of the film I’m surprised (nay affronted) that so much has been changed, seemingly in a bid to make the show more ‘relevant’. (Our lives are a bit like Norma’s, nowadays: unimportant unless viewed on a screen.) But hey, times change and move on I guess; this isn’t 1950. And I definitely want a soundtrack recording, preferably on CD.
|
|
|
|
|
|
Post by sampmiller on Sept 22, 2023 13:24:09 GMT
I’ll post a full review from the first preview tomorrow, but I just had to share that a star was truly born tonight in Tom Francis. The staging of the title song ‘Sunset Boulevard’ and his performance of it was one of the most impressive things I’ve ever seen in a theatre. This alone is worth the ticket price and received a standing ovation. After a very long drive back to Bristol last night and some time this morning to reflect on the performance, I've concluded that this is still a very easy 5 stars for me (my partner who is jukebox musical loving / sung-through musical hating also gives it a strong 5/5). I'll post a full review below with a few spoilers included (but I think most of these have already been discussed within this thread...) *SPOILERS BELOW*I'll start with a bit of context. I'm a huge ALW fan and have always loved the Sunset score, but have only ever seen the ENO production with Glenn Close. I've also never seen a Jamie Lloyd production, but went into this fully braced for what to expect thanks to the heads up from posters on this thread. For me, this truly felt like a theatrical experience. An event. Make no mistake about it, this is Jamie's reimagining of Sunset, but (mostly) all the main components of the piece are still there - the story, the lyrics, the beloved one liners in the script, and the score... oh, the score. I feel like this show has come at the right time, with lots of references to creative talent being out of business due to a 'work drought'; something which is currently being echoed in the real world with the Hollywood strikes in the US and a commissioning slowdown in the UK both affecting Film & TV crews worldwide. That being said, this show will still no doubt divide opinion and I genuinely have no idea which way the critics are going to go with it. There will be those who rave about it (myself included), and others who despise it - and if you hold memories of the original production dear to your heart (with Napier's grand, opulent set), then you may be more likely to fall into the latter. And I can sympathise with this... I'd feel exactly the same if Jamie Lloyd came in with CATS, ripped out Napier's junkyard set, dressed the cats in t-shirts and shorts, and directed Grizabella to sing 'Memory' down the lens of a handheld camera all whilst twerking. In the opening 10 minutes, it quickly dawned on me that there were no 'costumes' as such (just the aforementioned t-shirts, shorts, white vests, and the occasional blazer - not forgetting Norma's black nightie). There is also no set (just a fully exposed hollow Savoy stage with the odd light or chair, and of course the giant LED screen), but I fully embraced this by the end. The simplicity in all these areas means that there is absolutely nowhere for the cast to hide, and we see them fully exposed on stage in a way that I haven't really seen in a musical before. Just pure talent and emotion for all to see, and one of the many reasons why I loved this production so much. {Spoiler - click to view}
There is a lot of tongue in cheek humour in this production, something which is quickly established in the opening scene as we watch Joe unzip himself from his own body bag. Before long, we have Norma doing the splits, a furry chimp costume, Betty Schaefer drafting a film script on her MacBook, a Pussycat Dolls sticker on a dressing room mirror, and an ensemble cast member doing a line of cocaine off his iPhone. You almost need to see these moments for yourself to believe that they are really featured in a production of Sunset Boulevard.
The car chase scene was the first goosebump inducing moment of the night for me. A moment that has likely been lost in previous productions has now been transformed into something cinematic. Joe Gillis sits front stage centre, holding a handheld camera in 'selfie mode' (which also doubles up as a steering wheel). The giant LED screen is introduced on stage, lowering behind Joe whilst a close up of his eyes is projected as the credits start to roll: 'A Jamie Lloyd Production'... 'Music by Andrew Lloyd Webber'. It all feels very 'Janet Leigh driving through a rainstorm to the Bates Motel', and I loved it. ALW's haunting score then builds to a crescendo as the show's logo fades onto the screen in bright, bold red letters - and in this moment, you can appreciate just how cinematic this score really is. NS is quickly introduced, and like the rest of the cast, she is fully exposed in this production with nowhere to hide. Unsurprisingly, her vocals are sensational. I wouldn't have necessarily called myself a diehard NS fan prior to last night, but her performance of 'With One Look' and 'As If We Never Said Goodbye' were clear highlights for me (with the latter receiving a standing ovation, the second of the night after Tom's performance of the title song... more on this shortly!) Nicole plays a very different Norma to what we may have seen before, but in the context of this production, I think it works (I don't think we would have ever seen the likes of Patti or Glenn doing roly-polys across the stage whilst simultaneously doing the 'spread eagle'). She earned a lot of laughs throughout the night (whether this was intentional, I'm still not sure) - with a lot of camp looks to camera and sassy clicking of her fingers. But come the end of Act 2, her acting really flourishes - and as she stands at the front of the stage in the shows' final moments - illuminated in harsh lighting and with her wide, crazed eyes glaring at the audience, you really do believe her Norma has gone mad. I also found the introduction of stage blood* to be really effective in the final scenes - and in a moment not too dissimilar to the prom scene in Carrie, NS rubs said blood across her face before delivering the iconic line: "And now Mr. DeMille, I'm ready for my closeup". *Whilst on the topic of stage blood, it's worth noting that there are also some visual references to self harm toward the end of Act 1.There has been a slight tweaking of the story to accommodate NS, with Norma now acknowledged as being in her 40's - but again in the context of this production, it works. I also found the story as a whole easier to follow on this production, with the right songs being removed and any new dialogue fitting in well and adding value. The ensemble numbers in this production are really strong, and everyone gets their own individual moment to shine. A wall of sound hits you in the audience whenever they sing in unison, accompanied by the orchestra who sound stunning throughout. David Thaxton is fantastic as Max, with a sublime vocal. Grace Hodgett Young also has a wonderful voice and is a very believable Betty (although more sassy than in previous portrayals). But the standout of the night has to be Tom Francis as Joe. I've never witnessed an actor in a musical work as hard as he did; carrying the show on his shoulders and barely leaving the stage (and when he does, it's to partake in one of the best stagings of any song that I've ever seen in any musical). Big claim, I know - but it's not until you deconstruct the complexity of the staging that you truly appreciate how difficult that must be to pull off. And to do it faultlessly (as they did last night) is a credit to all involved. The best Act 2 opening I've seen in any production, and a moment that is surely worth the ticket price alone... {Spoiler - click to view}
Act 2 opens with the large LED screen on stage. A live feed appears from backstage at the Savoy, as Tom flits between the different dressing rooms and interacting with various characters as ALW's 'Entr'acte' plays. Nicole then enters and sits on a chair centre stage, before turning to face the LED screen. She watches the moment unfold with the audience, often cheering and applauding along with them. The title song 'Sunset Boulevard' then starts, and we watch Tom climb at least four flights of stairs backstage at the Savoy to street level, all the while singing the song live and looking down the lens of the camera. He exits the theatre via stage door and heads up onto the Strand; catching glimpses of curious passers by as he continues with the song. As the chorus hits, Tom interacts with the shows posters and front of theatre signage (all very meta seeing 'Sunset BLVD starring Nicole Scherzinger' on screen whilst Tom sings 'Sunset Boulevard, headline boulevard'), but this delighted the audience and led to cheers. By the end of the second chorus, Tom has made his way around to the other side of the building and to the main entrance of the Savoy. He enters the foyer, before making his way down another four or five flights of stairs; still singing note perfect and keeping character. It's at this moment as he descends the stairs that you feel the excitement and anticipation build amongst the audience. It becomes very clear that he's about to enter the auditorium with perfect timing, and sure enough, Tom bursts through the Stalls entrance to rapturous applause. Dripping in sweat after his marathon, he jumps up on stage to join 'Norma' and 'Max' centre stage just in time for the final line: "Everyone's forgotten how they started, here on Sunset Boulevard!" - holding the final note perfectly and leading to an instant standing ovation. A gargantuan task for any actor, but Tom pulled it off with ease - and I really hope he receives the recognition he so deserves for this. To think this is all achieved within three minutes is what makes this moment a staging masterpiece - and the risks that must come with it (if the camera feed drops out, if Tom can't hear the orchestra, if some drunken passers by on the Strand gatecrash the shots) - makes this such a thrilling thing to watch. And with the first preview being faultless, the only way is up from here. So, if you're expecting a revival of the original Sunset Boulevard with its lavish set and costumes, then you might come away from this feeling somewhat disappointed. But this production allows something far greater than any set could ever give you... an opportunity to use your imagination, and a moment to explore your very own 'Sunset Boulevard'. |
|
1,432 posts
|
Post by BVM on Sept 22, 2023 13:39:58 GMT
Fabulous review and descriptions @sampmiller
Thanks for posting :-)
|
|
7,166 posts
|
Post by Jon on Sept 22, 2023 13:44:43 GMT
It does sound like Jamie Lloyd has taken the original concept of Sunset Boulevard the film which was a scathing satire of Hollywood in the 1940s and 1950s and updated to the present.
|
|
|
|
Post by mattnyc on Sept 22, 2023 13:47:48 GMT
It does sound like Jamie Lloyd has taken the original concept of Sunset Boulevard the film which was a scathing satire of Hollywood in the 1940s and 1950s and updated to the present. Well…maybe. While it certainly is more “modern” it’s still set in 1950 because of the book/score. Norma is still a silent film star and wants DeMille to make her movie so it’s not exactly “the present”. |
|
|
|
Post by Fleance on Sept 22, 2023 13:49:43 GMT
Please forgive my ignorance. Earlier in this thread, someone referred to Jamie Lloyd's "tropes." I've seen -- and enjoyed -- many Lloyd productions: The Hothouse, Richard III, The Ruling Class, The Homecoming, Betrayal. Could someone enlighten me (or remind me) as to what Lloyd's tropes are? (I can recognize tropes in other directors, and filmmakers.) Thanks!
|
|
