Brand New West End Dawn for SUNSET BOULEVARD

First there was the classic, stylish Billy Wilder Hollywood "film noir"; then there was the highly melodic but perhaps slightly overblown Trevor Nunn staging of the Andrew Lloyd Webber musical; now there is the darkly stylish  Craig Revel Horwood staging of the Lloyd Webber musical, transferring from a sell-out run at the Watermill Theatre, bringing Sunset Boulevard back to the West End.

The show's story, a respectfully authentic re-telling of Wilder's movie by librettist/lyricists Don Black and Christopher Hampton, concerns down-and-out screenwriter Joe Gillis who, while frantically fleeing from a pair of debt-collecting "heavies", stumbles upon the reclusive faded silent screen star Norma Desmond in her crumbling mansion on Sunset Boulevard. In a bid to erase his debts, Gillis begins to work on developing a screenplay for what Desmond mistakenly believes will be her comeback. Along the way he falls in love with a bright young screenwriter, Betty Schaeffer, while being drawn into becoming Norma's gigolo. Eventually events head towards a tragic denouement of murder and madness.

The darkly opulent world of vintage Hollywood is perfectly captured by Diego Pitarch's minimalist yet stunningly evocative set, Richard G. Jones's atmospheric lighting, Sarah Travis's ingenius and beautiful orchestrations and Craig Revel Horwood's masterful direction. Even the most cynical doubters of actor/musician musicals should marvel at the way Mr. Horwood deftly manipulates the ensemble cast to create an intimate theatrical world that works on every level. The musical instruments, far from being a distraction, become an intrinsic part of the dramatic fabric of the piece. In one moment of particular genius, the saxophone and flute carried by Betty Schaeffer and her fiance, Artie, almost appear to make love as they play.

As the visual and musical tapestry is woven together in a perfectly apposite way, the brilliant ensemble members play, act and sing with equal flair and proficiency. And the principals each give stand out performances. Dave Willetts demonstrates a chilling presence as Desmond's sombre butler, Max. Laura Pitt-Pulford is a perfectly believable Betty and she sings exquisitely. Ben Goddard is vocally flawless and reaches right into the soul of Joe Gillis, creating a multi-layered flawed hero - charming, cynical and eventually tragically torn. And as the deluded diva, Norma Desmond, Kathryn Evans is simply magnificent. Perfectly capturing both the immense aura and the pathetic fragility of the character, she blows the audience away with her rendition of the huge arias, "With One Look" and "As If We Never Said Goodbye", and breaks their hearts with the character's climactic unravelling in the final scene.

Sunset Boulevard is possibly Lloyd Webber's most beautiful score and it has never sounded better than this. In particular, the second act duet between Joe and Betty - "Too Much In Love To Care" - has been given a greater musical and dramatic edge by Miss Travis and Mr. Horwood and Laura Pitt-Pulford and Ben Goddard's performance of the song is one of the best dramatic vocal moments in any show currently playing in the West End.

Yes, first there was the classic, stylish Billy Wilder "film noir". Now there is a musical theatre staging that truly does justice to Wilder's movie. This time Norma's "back where she was born to be" - and hopefully for a long time!

 

 

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