BWW Q&A: Daniel C. Levine of SUNSET BOULEVARD at ACT A Contemporary Theater

Pearl Sun will star as Norma Desmond in the Daniel C. Levine-directed production of the Andrew Lloyd Webber musical. Connecticut's A Contemporary Theatre will open its sixth season with Andrew Lloyd Webber's Sunset Boulevard, with performances beginning October 26 and continuing through November 19. ACT Artistic Director and Broadway alum Daniel C. Levine is directing.

Leading the production as faded silent film star Norma Desmond will be Broadway Come From Away and Next to Normal veteran Pearl Sun, along with Michael Burrell as Joe Gillis and Helen J. Shen as Betty Schaefer.

The company will also include William Aaron Bishop, Pragun Bhardwaj, Claire Fossey, Jasmine Gobourne, Gary Harger, Amanda Hunter-Finch, Conor McGiffin, Victoria Madden, Matthew Marvin , Val Moranto, Mac Myles, Daniel Pahl, Emily Solo, Liz Schmitz, Will Stone, and Andrew Winans.

Based on the 1950 Billy Wilder film, Sunset Boulevard follows the reclusive Norma Desmond who plans a triumphant return to screen stardom and the young writer she's taken under her wing to doctor her screenplay. With music by Lloyd Webber and a book and lyrics by Don Black and Christopher Hampton, the musical adaptation includes such favorites as "With One Look," "As If We Never Said Goodbye," and the title song.

ACT's production will feature music supervision and direction by Bryan Perri, choreography by Sara Brians, scenic design by David Goldstein, costume and wig design by Kurt Alger, lighting design by Charlie Morrison, sound design by Marisa J. Barnes, and makeup design by Angelina Avallone.

We sat down for a chat with director Daniel C. Levine!

How have you found balancing the roles of Director and Artistic Director at ACT of CT?

Being Artistic Director of ACT (A Contemporary Theater) of CT is extremely rewarding. It is a huge responsibility being the creative and artistic voice and vision behind the theater, and one that I take seriously. The duties of an Artistic Director are not solely “artistic”. In fact, I would say that probably just about 50% of the job is “artistic” and the other half is about fundraising, outreach, community engagement, and strategic planning. When deciding to direct one of our mainstage productions, it is important that the theater’s staff and team members are fully prepared in order to help fill the gaps that occur when I am on stage directing (and not available for the “day to day”). Careful planning goes into ACT of CT’s scheduling and staffing months in advance of my start date for directing a production. That said, I will always have my Artistic Director responsibilities even when directing a production, and so those can become really challenging weeks for me (usually 14-hour days, with no day off for about a month). That said, it is certainly worth it! Being able to run this fantastic theater AND direct some of the most unbelievably talented actors is thrilling, and I am always keenly aware that I am a very lucky person to be able to work in an industry that I love and am so passionate about!

Can you share some insights on your vision for this production?

I made the decision for our production of SUNSET BOULEVARD to not produce a scaled down version of the show. I didn’t want to simply represent the mansion or Paramount Studios with just a few representative scenic elements. Instead, I really wanted to “go there”. We have come up with a very smart and interesting way to allow for these large and grand scenic gestures to work in our space. I wanted our audiences to truly feel a part of the show - to “experience” the story as opposed to just “observing” it. The ACT of CT stage is actually a perfect stage to bring SUNSET to life. In a way, I directed this production more like a film and I think that the storytelling is really clear. Any one of my actors would probably tell you that I am a director who has a very specific and clear vision, and I love it when actors are able to get totally onboard with that vision. That is when the collaboration and creativity begins. I think that for a show like SUNSET BOULEVARD, the magic lies in the specificity.

How did the casting of Pearl Sun as Norma Desmond come about and what do you think she brings to the role?

Norma Desmond has been played by some incredible stars like Patti Lupone, Betty Buckley, Diahann Carroll, and of course, Glenn Close. It takes a really special and skilled actress to be able to play this role. Someone who can convey rejection, deep insecurity, and doubt. Someone who, at times can be over the top and wildly theatrical, but at the same time remain human and relatable. Pearl Sun is someone whom I’ve worked with before, and who, as director, I want to keep working with. Pearl is not only a fantastic singer and actor, she is also an incredible storyteller, and I think that Norma is really a perfect fit for her. Pearl is totally emotionally available as an actor and I love rehearsing with her. Pearl is able to weave my vision and needs for this role into her thoughts and desires for the character. Pearl is a true artist and collaborator. I adore her so much.

How do you feel your version of SUNSET BOULEVARD will differ from previous versions?

I think, because of the nature of our space, that this production is going to feel extremely intimate and immersive in a sense. We are not producing a scaled down version of the show. SUNSET BOULEVARD takes place in many locations, most notably Norma Desmond’s Sunset Boulevard mansion. And we have figured out a way to make this work in our space. For those who have been to our theater before, you know how “up closed and personal” it can feel; the actors are literally just 3 feet away from the first row, and we are a house of just 182 seats. This is a complicated show and the characters go on a huge emotional journey. Different from a big Broadway theater, the ACT of CT audience is just feet from the action and will be immersed in this captivating story.

Can you share a bit about the creative process behind the scenes, working with the crew and designers?

It is important for all involved to come into a rehearsal period being extremely prepared, especially for a big show like SUSNET BOULEVARD - it’s a very big musical. We don’t have a lot of time in our rehearsal period (just three and a half weeks). It’s important, not only for the designers to be incredibly prepared, but equally important for the crew. A show like SUSNET BOULEVARD (the way that we are producing the show) could easily take well over a month to properly rehearse, and hiring the right designers and tech team is really important. We have a great team here at ACT of CT. We actually “pre-teched” the show in advance of rehearsals beginning. There are so many moving parts with a large musical like this and in order to be successful (given our rehearsal and tech period time), a lot of pre-production must happen in advance of the first day of rehearsal.

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