BWW Reviews: MTW Stages Evocative Return of Norma Desmond and SUNSET BOULEVARD

Sunset Boulevard/book by Don Black and Christopher Hampton/music by Andrew Lloyd Webber/directed by Larry Raben/MTW, Long Beach/through July 28

1993's rarely produced Sunset Boulevard is a flawed, somewhat boring musical play that satisfies best with the casting of an actress of great star quality as Norma Desmond, one whose face could have convincingly lit up a silent film screen. MTW has found its star in Valerie Perri, and under Larry Raben's strong, resourceful staging, Sunset Boulevard is 5-star entertainment.

For those unfamiliar with Billy Wilder's classic 1950 film starring Gloria Swanson and William Holden, and from the gasps at the gunshots on opening night, I gather there are still some who are not, Joe Gillis (David Burnham), a down.on.his.luck screenwriter whose car is in the process of being repossessed, comes unexpectedly into iconic silent film star Norma Desmond's life. She coaxes him to read her overbearing and sugary screenplay of Salome, with the hope that it will take her back to Paramount and Cecil B. DeMille (David Aldrete), who had directed many of her early films since her breakthrough at age 17. This is 1950, and devoted.to.a.fault servant Max (Norman Large) attends to Norma and has somehow managed to convince her that she still receives 10,000 fan letters a week. Delusional, Desmond, who has attempted suicide on several occasions, proceeds to fall head over heels in unrequited love with Gillis, who in turn becomes smitten with friend Artie Green's (Marc Ginsburg) girlfriend Betty Schaefer (Ashley Fox Linton), who is helping him beef up an old story idea into a full-fledged script. Gillis, usually independent and smart, has allowed himself to be kept by Desmond solely because of his previous misfortunes. When he finally sees the light, alas, it is too late to turn back or to go forward in a happy relationship with Betty, who, in spite of her engagement to Artie, has also fallen in love with him.

It's a sad and tragic story for all concerned. Yet there are joyous moments, mostly provided by Desmond's childlike fancies, doting behavior and overabundance of star power that was Hollywood in its heyday. As much interest as Norma brings to the story, however, her part in it may also be responsible for the musical's lack of richness as a well-rounded romantic story, as little time is explored in the Betty/Joe affair nor is there a very specific and juicy expose of Norma's past marriages. Somehow the film's screenplay was able to capture riveting details that the stage musical sorely does not.

But... there is the magic of Norma Desmond and the actress who plays her. Here it's Valerie Perri's turn and, from her very first entrance, she captivates our attention. Tiny, but statuesque with a stunning angular face, she makes use of that expressive face and lovely hands to convey every word, every feeling, every hope, every dream. ("I am big; it's the pictures that got small.") Like a hopeless little girl used to getting what she wants, Desmond manipulates Gillis and more importantly her audience. It's a grande seduction and Perri carries it off magnificently...with the voice of an angel. David Burnham has never been better onstage. Boyishly handsome, also possessing a tremendous singing voice, he keeps Joe Gillis' cool exterior, which masks a genuine quality of goodness. It's ironic, but both Norma and Joe are tragic people with big hearts. When the heart is too big, it may prevent one from coming up a winner. Large as Max is perfectly cast. Another sterling singer, he turns a servant into a prince. Linton is precious and real as Betty, Jeff Skowron lends humanity to the typically indifferent Hollywood corporate producer Sheldrake, and Aldrete gives DeMille a pleasant, friendly air.Chelsea Franko and her mom Karla are but two of the terrific ensemble that bring old Hollywood to life. Raben has added fine touches as director. Choreographer John Todd and David Lamoureux, conducting the orchestra, bring welcomed expertise. J. Branson's set of Norma's manse is scaled down but still giving off the appropriately elaborate opulence it deserves, and Kate Poppen's costumes, especially Norma's gowns, are nothing short of eye-popping, especially her final over.the.top outfit for Salome's descent.

Don Black and Christopher Hampton's script may have a lot of weaknesses and Andrew Lloyd Webber's music is certainly not up to his Phantom, but "With One Look", "As If We Never Said Goodbye" and "The Perfect Year" are without a doubt chillingly satisfying. MTW's production is, to coin an ironic phrase, a lovely replica of Hollywood cynicism and degradation, with surefire direction and star worthy performances.

http://www.musical.org/MusicalTheatreWest/home.html

(photo credit: Ken Jacques)

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