Melbourne’s oldest and grandest venue, the Princess Theatre was transformed into Hollywood Glamour on Wednesday night as the city welcomed the return of the Australian production of Sunset Boulevard presented by Opera Australia & GWB Entertainment by arrangement with The Really Useful Group. With a dazzling red carpet, free-flowing champagne on a glamorous bar that spilled out onto Spring Street, the foyer was adorned with old Hollywood decorations. As guests filled the theatre dressed in their best Marilyn Monroe’s and Frank Sinatra’s, getting ready to celebrate the return of Andrew Lloyd Webber’s hit musical after 20 years.
Sunset Boulevard weaves a captivating tale of Joe Gillis (played by Tim Draxl), a struggling writer in 1950s Hollywood. His life takes an unexpected turn when he crosses paths with silent movie star Norma Desmond (played by Sarah Brightman). Norma, forgotten in the era of talking pictures, ropes Joe into editing and re-writing her first screenplay. This chance meeting sets the stage for a dramatic and enthralling story that unfolds on the backdrop of Hollywood’s golden age.
The show opens with a pair of mascara-filled eyes watching over the audience, slowly blinking as the curtain rises to introduce us to Joe. After some successful pictures writing what he likes, Joe is deep in debt, and a pair of collectors are chasing him to repossess his car. Set designer Morgan Large meticulously designed the film sets of the Paramount lot, mixing in some beautiful costumes reminiscent of this era in Hollywood.
The first act introduces us to Joe and his career predicament. He has run out of steam and is looking to sell out and write anything to pay his bills. Not able to find anyone to loan him $300 to pay off the collectors, Joe is chased down the highway and pulls into the highway of a seemingly abandoned house. This turns out to be the home of silent movie star Norma Desmond. The eccentric and fabulous diva convinces Joe to stay to edit and re-write her very long movie script that she is angling to get made. Joe reluctantly stays and moves into the mansion to be there and available whenever Norma demands.
The majority of the first act heavily relies on Joe and Norma establishing their dynamic, along with Norma’s butler Max (Robert Grubb). Draxl shines as Joe, with a silky smooth voice and oozing endless amounts of charisma, he really carries the show. Brightman may take a little more getting used to. She undoubtedly has an incredible voice, it is the dialogue fused with song that takes you out of the show when Brightman infuses her traditional operatic style. It doesn’t fuse well with the rest of the songs which are performed in a more modern style. Playing Norma demands a level of entitled diva outlandish antic that Brightman seems to hold back from fully embracing. The classic lines of “I am big! It’s the pictures that got small” are simply delivered with minimal impact. Draxl and Brightman have great chemistry and their scenes together are memorable.
Ashleigh Rubenach and Jarrod Draper as Betty Shaefer and Artie Green were brilliant supporting cast. The banter between Rubenach and Draxl is a highlight of the show, they play off each other in a flirtatious way that lifts each scene and song they are in together. Green really pulls out the stops in the New Years Eve scene with a roaring rendition of “Auld Lang Syne.”
By far the highlight of the show is “The Lady’s Paying” which provides the most comedic and entertaining number in the show. While the song is led by Brightman, it is the ensemble of shop assistants and tailors that provide the laughs here. They discuss through song what outfits to deck Joe out in, while he is changing behind some tall suitcases. The choice of camel hair or mink for his coat, trying to convince him to wear tails for New Years Eve and more to stop him from keeping his usual apparel that Norma cannot stand to look at anymore. The singing, dancing and furiousness from all involved really lifts the show at the right time.
The second act of the show really picks up as Norma’s obsession with Joe continues and Betty’s involvement with Joe ramps up and causes her to lash out is where this show shines. While Brightman can’t manage to tap into the full jealous crazed lover that this character requires, it is still enough to keep the audience mesmerised as the show concluded with rapturous applause, confetti and an abundance of flowers, along with a standing ovation from a captured audience.
While the Webber songs and script may feel a little outdated in 2024, the cast pour their heart and soul into every scene and song. The sets and costumes are simply stunning with the interior of Norma’s mansion, along with her wardrobe itself, left the audience gasping and cheering everytime Norma emerged with a fabulous new outfit. The Melbourne Orchestra, being led by musical director Paul Christ, really adds to the emotional weight of what’s happening on the stage, and the projection design that is incorporated into the curtain and sets is incredibly immersive.
Sunset Boulevard is a dazzling, electrifying old Hollywood extravaganza you cannot miss.
FOUR STARS (OUT OF FIVE)
Sunset Boulevard is now playing at the Princess Theatre in Melbourne. The limited season runs until 11 August before heading to the Sydney Opera House from August . For more information and to purchase tickets, click here.
The reviewer attended the opening night on 29 May, 2024.
