Exclusive: SUNSET BOULEVARD Stars, Directors Reflect on the Show’s Traditional, Stripped-Down Stagings

Known for its grand, dramatic score, “Sunset Boulevard,” Andrew Lloyd Webber’s Old Hollywood-themed musical, which is equally famed for its iconic lead character, Norma Desmond, has finally made its first season in Asia—after over 30 years since its world premiere in London.

A love letter to Billy Wilder’s 1950 film of the same name, Webber’s “Sunset” eerily adapts the film’s dark, cynical tone, themes of fading fame and obsession, and the clash between Hollywood’s dead silent era and the emerging talkies. The film’s most iconic moments, including Desmond’s descent into madness and her famous declaration, “And now, Mr. DeMille, I’m ready for my close-up,” have been kept intact for the stage.

Similarly, the actors and directors behind “Sunset Boulevard,” now playing at the Sands Theatre, Marina Bay Sands, are deeply invested in honoring the show’s legacy while recognizing the value of diverse interpretations.  The original stagings in the ‘90s, including this one, directed by Paul Warwick Griffin, were massive and pompous. In contrast, the current production on Broadway, directed by Jamie Lloyd, is sparse and stylized.

Unique Interpretations

Tim Draxl (Joe Gillis) emphasizes there is "no right or wrong" way to interpret “Sunset Boulevard.” He enjoyed both the traditional production and the more stylized Broadway production.

“I went to see ‘Sunset Boulevard’ on Broadway recently, in between the Sydney and Singapore seasons, and to be honest, I was worried going in. I had heard so much hype and enthusiasm, and my concern was that it either wouldn’t live up to expectations or that I would love it so much that I would be less enthused about returning to our more traditional version. It became very clear quickly that I had nothing to worry about on either matter,” he recalled.

“I loved its stylized, stripped-down interpretation and what they did with a black box set. The incredible lighting combined with stellar performance was nothing short of genius.

“But it also made me appreciate our version for what it was, which is much more literal, where you get to see the world as something tangible and where you have someone like Sarah Brightman who shares some very real parallels to the character of Norma Desmond bringing her own lived experience of early fame and a return to musical theater after almost 30 years to the role. I think that’s the real genius of our version.”

He added, “There’s an element of art imitating life. Ultimately, both productions have a right to exist simultaneously, and I concluded the two are so unique that you can’t compare them.”

Ashleigh Rubenach (Betty Schaefer) echoes this sentiment: "I think both interpretations are equally important!"

Scenic design by Morgan Large

She said, “The musical is an epic story about the consequences of fame (or what happens when it’s taken away). It’s relevant, whether set in 1950s Hollywood or a contemporary world. How exciting to be in an era of theater where both versions can exist concurrently?” 

David Spencer (resident director) supports the pared-back version, noting its potential to highlight the enduring relevance of the story’s themes, which explore the consequences of fame, Hollywood’s dark side, and the search for validation.

“The great thing about directing and art in general, in my opinion, is that there are many ways to interpret a script and score. I believe we understand Joe’s actions through the lens of the 1950s. I also love we can provide period choreography, costumes, and sets to live in that world,” he said.

“I think the advantage of the pared-back, stylized version would be to highlight many of the themes of the piece: fame, validation, belonging, and risks of compromise are still relevant. I’d love to see that version. I think Nicole Scherzinger is an incredible performer.”

Dale Reiling (musical director) similarly notes it’s a testament to the quality of writing of Webber, Don Black, and Christopher Hampton (lyrics and libretto). “Sunset Boulevard” "can be re-examined and re-conceived for different audiences and generations worldwide, just as great theater classics and operas continue to evolve in their productions.”

However, Robert Grubb (Max) believes the story's Hollywood setting necessitates a "massive luxurious house" and lavish costumes, aligning with Webber’s "lush score and orchestration."

He claimed, “The story is about Hollywood. It's set in Hollywood. We associate Hollywood with glamor, and I'm sure all those successful Hollywood producers, actors, and artists would wish to show their wealth and prosperity.

“So, having a massive luxurious house, however, adorned in whatever tacky display, would have been the thing to do in the times in which the play is set. This, along with Norma's many costumes and outfits, goes hand in hand with the lush score and orchestration by the master of musical theater, Lord Webber.

“For me, it has to be lush. And, I have to say I've had countless people come to me and say, ‘We've seen both versions, and this one's better.’”

Nicole Scherzinger stars as Norma in a stripped-down 'Sunset Boulevard' on Broadway.

‘Sunset Boulevard’ for Young Audiences

Its Asia premiere has been a milestone event, bringing the musical’s timeless themes and famed traditional elements to a brand-new audience and potentially sparking fresh perspectives on the story, especially mental health awareness.

Paul Hanlon (Cecil B. DeMille) feels "incredibly lucky" to be part of the premiere and is thrilled Asian audiences will "finally get a chance to experience this grand, sweeping show."

“We have such a wonderful cast, led by the incredible Sarah Brightman…I honestly feel it’s one of Webber's finest scores. The music is wonderful, and I'm sure audiences here in Singapore [and in China] will be swept away,” he said.

On the other hand, Taylor Scanlan (dance captain) notes it "honestly feels like such a privilege to be here in Singapore and is grateful to see the Asia audience's reactions and positive responses to the show.”

“With the stage version, you get the bonus of a sweeping cinematic score and iconic musical numbers that I’m sure many people here would know, so it’s thrilling to present them in their full context. There’s also so much folklore and legend surrounding the musical, which makes it even more exciting for Asia to finally be able to witness this masterpiece,” Draxl closed.

Notably, “Sunset Boulevard” highlights fame’s dark side and one’s desperate need for validation, which seems true for many “TikTok” users, whose followers and likes are often equated with self-worth. Prompting start-up conversations on mental well-being over external validation is encouraged.

Despite her wealth and fame, Norma’s isolation and loneliness can resonate with young audiences who may be harboring similar sentiments in a world disconnected from many realities.

This production of “Sunset Boulevard,” which premiered in Melbourne, Australia, last May 2024, is directed by Paul Warwick Griffin, with set and costume design by Morgan Large, choreography by Ashley Wallen, and musical supervision by Kristen Blodgette.

GWB Entertainment, Opera Australia, The Really Useful Group, and presenter Base Entertainment Asia have presented “Sunset Boulevard’s” Asia premiere.

The production will tour China’s Beijing, Shanghai, Wuhan, and Shenzhen next.

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