Sunset Boulevard – Savoy Theatre 2023/24

Simply because if you disagree with the majority you’re up against it. Never be afraid to stop speaking your mind though, some of the behaviour on here is appalling. People who wouldn’t dare speak or behave that way in person - keyboard warriors.

Back on topic, I’ve been offered a comp ticket for this in November and may make it if I’m free. Be interesting to see if they’ve added luxuries like props or a set by that point.

Saw this for the second time last night and finally have time to give my thoughts.

I won the TodayTix Lottery for last night and my seats allocated were row R of the stalls. Although not wanting to sound ungrateful, these are some of the worst 'lottery' seats I've had for a show. A few rows from the back of the stalls and I would say they were restricted review as the overhang from the circle cut off the top of the giant screen. I'm very glad I saw the show from row C of the stalls last week, so it didn't bother me too much, but I'm often a bit bitter with shows that have a large amount of availability on the day, and still offer Lottery or Rush tickets at the back. Shows at the dominion always do the same, rush for The Prince of Egypt and Grease are/were always very far back, despite the majority of the front of the stalls being empty. Yes you're getting cheaper tickets, but the further back you go the less of a good deal these become.
Also for reference, when I collected my tickets at the box office, the lady said 'is it lottery' and after I said yes she grabbed the pile of 'lottery tickets' and I would say there were at least 20 pairs. I guess the amount could vary night by night, but clearly plenty lottery available some days.

Anyway, very little differences between the two performances, didn't notice any changes other than I think Nicole has gotten even better in the past week.

I really loved the production, the mixture of live filming throughout, the staging, the (perhaps underused) ensemble, it really is a visually stunning performance, which seems strange to say with no set and no props, and very few costumes. I will say I think I was maybe able to appreciate the lighting design more from further back, but that's maybe the only advantage.

I think Tom Francis is great, but Nicole is really the standout for me. She is mesmerising to watch on stage, and I often felt her lack of presence when she wasn't on stage, and was waiting for Norma to return in a later scene so we could get her back onstage. Her two big numbers are really fantastic, and those last 10 minutes are phenomenal. I think she gives anything but a 'safe' performance, and whilst I do think some of her (or the directors) choices are borderline ludicrous, I think it works to the extreme, and is so bonkers that it really works, for me at least.

The orchestra is the best I've ever heard in the theatre, they just sound sensational with that score.

Have to give the production 5 stars, although I will say Sunset Boulevard isn't necessarily going to make it into my list of favourite musicals, but I think this reinvention maybe me enjoy it 10 times more than I would have a traditional production (which I saw when I was about 10 on tour and remember hating every second of, but I'll maybe put that down to naivety,).

I'll probably try to catch it again while it's on but I won't rely on the TT lottery next time I don't think.

Also, First time I've ever gone to the stage door after a performance, and after about 15 minutes of waiting a member of security said 'for a number of reasons' Nicole won't be coming out tonight. The crowd took the news well tbh, and I guess after seeing the Les Mis news on the way home that explains it.

Forgot to mention when I saw this on Tuesday, there appears to be a new section of video with Max in a car with a rain flecked windscreen - has this always been in and I've just missed it before, or has anybody else noticed this?

Looking forward to seeing this.

Re. people standing in a line spitting out their lines, physically unconnected to the receiver (Jamie Lloyd trademark)....

I guess 'Let's Have Lunch' plays into this well (?), and is suitable very early, so makes a case for Jamie Lloyd's vision having an integral hook into the existing material, rather than being wholly imposed afterwards.  In the increasingly cacophonous 'Morning Joanna....' sequence there's a hint of friendship and being 'in it together', but more than that it's the platitudes and air-kissing niceties of people desperate for the job and really not listening to what anyone else is saying. Speaking to be heard and win, rather than to converse.

A friend just picked up a mid stalls seat for tonight for £47.50 that usually goes for £87.50. So dynamic pricing really does have it's perks nearer show time. Think this will be my plan when I'm free to see it.

I've really enjoyed reading all the comments on this. So many intelligent thoughtful reviews (essays, really) from people who both like the show and don't. Thank you everyone for taking the time to write so much!!

One thing i wanted to say, which I forgot to mention last might, is that while the video thing may not be new in theatre, I have never seen it used like this in a musical, let alone a west end musical, let alone an ALW one. The closest I guess is Oklahoma but that felt like it had a different intent and wasn't so integral to the production.

I think it's phenomenal to see such bold staging, however new (or not) it may be, used to re-interpret a blockbuster mega-musical. In its way, it is as theatrical as Hal Prince's staging of Evita and Phantom, or Napier's sets for Starlight and Cats - a pure live event experience that takes you into a totally different world. It exploits the magic of live performance to its fullest, although in a totally different way. I haven't felt this for a West End musical for a long long time and I hadn't realised how much I'd missed that feeling!

I also really like the way that this stark, brutal staging has been applied to a lush, romantic (albeit dark and cynical) musical work. The two different styles actually play off against each other perfectly, which is why I say that ALW should write more 'adult' musicals. IMO his best work has always been where he has used his gift for melody to explore things that are actually pretty dark, and where the staging leans into that.

Totally agree too about how phenomenal this sounds. I don't know what they've done, or how they've done it, but it's magnificent.

Personally, I just think it's incredible that we're sitting here in 2023, discussing whether the metanarrative in an Andrew Lloyd Webber musical works or not. I repeat - and Andrew Lloyd Webber musical. Not Sondheim. Not a Jeanine Tesori musical, or a Dave Malloy one. How did this happen? More please!!

That is my worry alright. I'll keep an eye on it and then splurge when the time comes if I have to, I guess!

Well, we're on page 57 for a show that has yet to officially open, so that says something I guess.

Lottery - Dress Circle L (central, but my £20 seat was better)!

Is that really a spoiler..?

And what is it that i've said that is so appalling?

You should go and see it. Then you'll have an informed opinion on it, not just from what others think.