Broadway’s Dazzling Yet Dull Revival of ‘Sunset Boulevard’

Broadway’s Dazzling Yet Dull Revival of “Sunset Boulevard”

In a striking twist reminiscent of Norma Desmond’s famous line in the classic film Sunset Boulevard, where she claims it’s not her but “the pictures that got small,” the current landscape of Broadway musicals tells a different story. Here, video and projections have surged in prominence, creating an immersive experience that often overshadows the live performances on stage. This phenomenon reaches its peak at the St. James Theater, where a revival of the musical adaptation of Sunset Boulevard premiered on Sunday. The production features a staggering LCD screen that towers over the stage at more than 23 feet, almost drowning out the action unfolding below.

However, it only nearly eclipses it. Despite the intriguing creative choices made by director Jamie Lloyd and his talented technical team, the musical ultimately falters, remaining far too farcical for its own good. In this regard, one can only imagine how much Norma would have reveled in the spectacle—though that is not intended as a compliment.

To refresh your memory, Norma Desmond (played by Nicole Scherzinger of the Pussycat Dolls) is a character steeped in delusion: a faded silent film star who, in her 50s, resides in a grand yet ghostly mansion in Los Angeles, accompanied only by her grim manservant and the recently deceased chimpanzee she once owned. The narrative picks up in 1949, after she has spent decades practically imprisoned in her own home, convinced that a resurgence in her film career is imminent if only the iconic director Cecil B. DeMille would agree to helm the epic version of Salome she has penned.

The ensuing tale spirals into madness. Norma coerces Joe Gillis, a charming yet morally dubious screenwriter, into refining her script, and soon, their relationship deepens into something more intimate. Joe (portrayed by Tom Francis) oscillates between the lavish lifestyle afforded by Norma’s wealth and the idealistic allure of Betty Schaefer, a determined studio assistant whom he initially dismisses as “one of the message kids.” However, as Betty (played by Grace Hodgett Young) encourages Joe to adapt his own story titled Dark Windows, their romance flourishes, while the enigmatic Max von Mayerling (David Thaxton) provides a haunting glimpse into Norma’s troubled dynamics with the men in her life—complete with a razor and a gun.

The narrative takes a dark turn, as it is narrated posthumously by Joe’s corpse, suggesting that none of this ends well. The 1950 film, masterfully directed by Billy Wilder, maintains a wry detachment from these sordid happenings, offering a coolly analytical perspective on the human condition, devoid of emotional indulgence. In this film, Norma emerges as a quintessential drama queen, Joe as a charming gigolo, Betty as a naïve dreamer, and Max as a sinister goblin lurking in the shadows of their lives. We gain insight into their emotions only through their actions, leaving much to the audience’s interpretation.

More From Author

Vietnam’s National Assembly Appoints Luong Cuong as New President

Kamala Harris Focuses on Hurricane Relief in Key Battleground State

Leave a Reply

Your email address will not be published. Required fields are marked *