Sunset Boulevard (Savoy Theatre, London, Personal)

 🌟 Sunset Boulevard 🌟

21 December 2023 at 2:30pm at Savoy Theatre, London

★★★★★

Sunset Boulevard. Ahead of this afternoon's performance, I had never come across this musical before. It has taken me a while to truly comprehend the immense impact this show holds. The way people had spoken about it was like nothing else, the sheer level of astonishment bewildered me, but Sunset Boulevard at the Savoy Theatre is theatrical perfection, that really has to be seen to believed. I'm at a point where I've written over 40 reviews for my blog, and this is the first time I've been so lost for words. This reawakening of the Andrew Lloyd Webber original is one of the most exhilarating things in theatre to have existed, and I hardly doubt I will EVER forget this.

Brought to the West End by the Jamie Lloyd Company, the vision for this adaptation of Sunset Boulevard is refined, that finds a haunting atmosphere in it's simplicity and isolated brutality. Lloyd's vision is phenomenal in bringing our fading star Norma Desmond's paranoia to life, the pressures of Hollywood fame and the dangers of deceit.

Both Soutra Gilmour's set and Jack Knowles' lighting design work in incredible junction, where literal voids of darkness are formed, the actors suspended in this state of unsafety. Overall, the piece is minimalistic in prop work, though pin precise blocking allows Knowles' lighting to speak a million words in conceptual space. Every millisecond is a snapshot onstage, the monochrome aesthetics, with occasional bursts of colour, enhance this destitute loneliness of fame.

Starring as Norma Desmond, Nicole Scherzinger is indescribably the most commanding and, to be honest, gives the most invigorating performance I have seen in my whole life. As Norma is an ageing and receding star, in the midst of loneliness, Scherzinger's casting is controversial to some. However she is nothing short of a theatrical miracle. She may not be a traditional Norma, but she breathes this fiery passion into the role, exuding such confidence and drama. Aided by Hazel Holder's voice work, the way Scherzinger performs every single word, the enunciations, softness, tempo all help to deliver this desperate paranoia. It is so challenging to put into words, but this is THE solo performance of the year, such immense character work is inspiring. The voice and breath control during With One Look, I could barely believe what I was watching, Nicole Scherzinger is unstoppable. Sharing the role, Hannah Yun Chamberlain portrays a young Norma in fleeting appearances, their appearance strikingly similar. These interjections reflect on a beauty lost, and give that extra parallel.

Tom Francis, staring as Joe Gillis, beyond amazed me with such a challenging run. Francis feels as if he is on the stage for nearly every scene, yet exhaustion never gets the better of him, delivering exceptional vocal performances. Especially **that** opening of Act 2!! I wouldn't dare spoil it, but to take the action away from the traditional stage in a way which reflects such importance, the West End has never seen this level of astonishing creativity with theatrical space. Nathan Amzi and Joe Ransom's live video design is impeccable. It feels as if you're in the middle of a huge blockbuster. The way the actors work on romancing the camera, or to not acknowledge it as a 'fly on the wall', these larger than life faces solidify the impression that someone is always watching. Video isn't always flattering, but this works as a huge benefit through the character's facial expression and distress.

Completing this complicated love triangle is the effervescent Grace Hodgett-Young as Betty Schaefer, giving the West End debut anyone could only dream of. Her voice has a wonderful delicacy which contrasts Scherzinger's attack. She portrays Schaefer with the bright eyed and enthusiastic attitude you'd expect, really bringing a refreshing take on the role. Additionally, Olivier winner David Thaxton (portraying Max) has such a stern bluntness which is be endlessly laughable where everyone else finds the flare for melodrama. We see a small glimpse of his appreciation for no one other than the Pussycat Dolls!! It's the tiny little details which really refine this production.

This entire cast pulls off some ridiculously complicated sequences, with Fabian Aloise's contemporary choreography a whirlwind in creating atmospheres and emotion through movement, whether big or small. The stamina required for the whole ensemble is tremendous, the energy and pacing of Sunset Boulevard is exactly what keeps the show exciting.

As previously mentioned, Sunset Boulevard is entirely new to me, and led by Musical Director Alan Williams, the orchestrations are beyond divine. With a very harsh visual aesthetic, the musicality of jazzy interludes and often very gentle numbers is so fascinating for me. I also really enjoy the visceral eeriness of Adam Fisher's soundscapes, away from the show's original conventions to work on this unsettled and uneasy tone.

Many many scenes took my breath away, but none other than the closing moments. I can still recall my heart beating so fast from the intensity of these scenes, even shedding a tear or two! Alike Daniel Fish's Oklahoma! earlier this year, there is a moment of the audience being plunged into complete darkness, the impact on our senses is one of the most impressive things about modern theatre, to violently take our right to see the action, and let particularly sound lead the emotive story.

You can't expect to give this production of Sunset Boulevard any less than 5 stars... 6 stars.. 10... 50?? How many am I allowed to give?! I am extremely lucky to have had the opportunity to see the Jamie Lloyd Company's adaptation of Sunset Boulevard, every single person and element working cohesively for the theatrical experience of the century. Unbelievably austere and innovative, I wish I could say so much more! I can only keep everything crossed for another life for this musical... at least a cast recording!!

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