SUNSET BLVD

By Diana Simmonds

September 1 2024

SUNSET BLVD, Opera Australia & GWB Entertainment at Joan Sutherland Theatre, Sydney Opera House, 31 August-1 November 2024. Photography by Daniel Boud: above - Tim Draxl; below - Robert Grubb, Sarah Brightman, and Tim Draxl; below again - Ashleigh Rubenach and Tim Draxl

Gloria Swanson herself and later, Stephen Sondheim, were artists who attempted to turn Billy Wilder’s great 1950 movie into a stage musical. Swanson – Norma Desmond of the film – was eventually stymied by Paramount  Pictures. Some years later, Sondheim was kiboshed by Wilder. Sadly, no one was around to stop Andrew Lloyd Webber. The result is a bewilderingly popular show containing his usual ration of one memorable song (“As If We Never Said Goodbye”).

The original film is a masterpiece of dark emotions, cynicism, uncomfortable truths about old and current Hollywood, and ambitions. It’s all sharp cheekbones and smouldering fire – which is why Swanson, then on stage, Patti LuPone, and Glenn Close so brilliantly brought to life the once-great star turned deluded has-been. (In 1996, in the first Australian production, we had an exquisite, heart-wrenching Debra Byrne in the role).

The contrast between these three and today’s drawcard Sarah Brightman could hardly be more stark. Brightman was the prettiest – and original – Christine in Phantom of the Opera, and co-starred memorably with Andrea Bocelli for “Time To Say Goodbye”. That is, in performance, she has none of the sharpness, ferocity, or nascent madness that says Norma Desmond. Her voice has grown richer and fuller over time, however, and she makes more of her musical numbers than they deserve.

Co-starring as Joe Gillis, the struggling young screenwriter who agrees to work on Norma’s (three volume!) screenplay and becomes her reluctant live-in lover is Tim Draxl whose open shirt display of six-pack starts the second half. However, the temperature drops once Norma’s tailors have finished with him, and he’s in white tie and tux. In the stage show the Gillis character suffers from the same blandness that blights its entirety (book and lyrics Don Black and Christopher Hampton) and there’s little Draxl can do about that. The absence of chemistry between him and his co-star doesn’t help either. They both seem quite nice, which is not the point.

The best performances – and characters – are Robert Grubb as Norma’s faithful but creepy butler Max, and Ashleigh Rubenach as Betty Schaefer, Joe’s real-world writing partner and eventual real love interest. Both fully inhabit roles with more bite and nuance than either of the leads. Also as up to the mark is the company of dancer-singers: they fill the stage with colour, movement, and meaning (choreographer Ashley Wallen).

Visually the show is interesting. Norma’s mansion resembles a black and white silent movie, Schwab’s bar is Technicolor, while the back lot at Paramount is doco-realism. And lavish costumes are apt for the period and place (set and costumes – Morgan Large, lighting – Mark Henderson, sound design David Greasley, video and projection – George Reeve).

Director Paul Warwick Griffin keeps things moving smartly over two and a half hours, including interval, and the second half has the pizazz that’s lacking in the flaccid first. Lloyd Webber fans will undoubtedly enjoy it as many did on opening night. It’s not Evita though: that collaboration with book and lyricist Tim Rice made it Lloyd Webber's best ever, and the last time he extravagantly plonked nine hummable songs in one show.

Sunset Blvd is awash with musical schmaltz that, with a miscast leading lady, cancels out any residual dramatic tension. However, it’s the last hurrah from the Lyndon Terracini era – he who figured a big box office musical and the Farm Cove extravaganzas could bring in a different-younger audience and dollars – so change is a-coming, and not just in the person and status of Artistic Director. (NB: Terracini didn't cast the leading lady.)

For the future, the annual shows-afloat depends on the continuing beneficence of Dr Handa, while box office success with theatre-based musicals means the lottery of punter fodder. (A commercial production of Carousel has just fallen at the first hurdle months before its due date.) Meanwhile, OA will be sacrificing chooks at the box office altar ahead of February and Hadestown (eight Tony awards and a Grammy).

For now, Sunset Blvd is great to look at and has thrown up a star in the making. It will be good to see what Ashleigh Rubenach does next. Ulla in The Producers?