SUNSET BOULEVARD
22-25 April 2015
Palace Theatre, Southend-on-Sea
22-25 April 2015
Palace Theatre, Southend-on-Sea
Andrew Lloyd Webber’s Sunset Boulevard has its regional premiere this week at Southend’s Palace Theatre and Little Theatre Company have more than surpassed themselves in bringing this blockbuster of a show back on to the stage.
With the clever use of projection to give the impression of an old film, the show begins with the titles being rolled, introducing us to who is starring, directing and leading the orchestra in this epic production. As the opening titles and subsequent film footage close, the curtain is lifted and the story of Joe Gillis and Norma Desmond’s relationship on Sunset Boulevard begins.
It’s 1949 and Joe Gillis is the Hollywood screenwriter, who having escaped from repossession agents, finds himself at Norma’s faded and dilapidated mansion. Norma, the faded star of the silent screen era, still living in the past persuades him to read a transcript she has written called Salome and convinces Joe that with her as the star of this film, she can make a comeback and be the Hollywood sensation she once was before Tinsel Town discovered talkies. Reluctantly Joe gives in to her pleas and their subsequent passionate and volatile relationship ensues.
He does, however, meet Betty Schaefer, a pretty, young script editor who proposes they work together to develop one of his earlier projects and inevitably their relationship becomes closer and Joe is torn between the two women.
Stephanie Wilson plays the iconic role of Norma Desmond and instantly knocks the audience dead with her rendition of “With One Look”. She perfectly captures this tragic, delusional ‘has been’. Joe comments, "You used to be in pictures – you used to be big," to which she retorts, "I am big ... it's the pictures that got small!" Stephanie’s performance throughout the show just gets stronger and stronger. I loved the desperation in “Perfect Year” as she longs for Joe to stay; and “As If We Never Said Goodbye”, when she finds herself back in the Hollywood film lot which left me with goosebumps. Her final scene, where her full pathetic vulnerability was displayed, was utterly heart wrenching.
Simon Bristoe plays Joe Gillis as effortlessly as if he’d been playing the part on the West End stage for years. His characterisation really has substance and Simon’s performance from beginning to end, both vocally and in character, was hugely watchable and proves that he really does have star quality.
Paul Allwright as Max, gave a wonderfully endearing performance as Norma’s loyal butler and I loved his powerful “The Greatest Star of All” number.
Another lovely performance was given by Victoria Tewes as Betty Schaefer, a new face in a leading role for LTC and again another performer with a fabulous voice.
In actual fact, everyone in LTC has a fabulous voice! The chorus numbers are polished and every single member of the group who has a solo - and there are many of them - sings it note perfect. It’s not often that I can say that I’ve seen a production of this proportion where there are no weak links, but this is it. LTC work so well as an ensemble and each scene has been choreographed using the stage to its full advantage thanks to Gemma Caracher.
Costumes all looked fabulous and of the period and the staging was equally impressive. The whole set is very plush and professional looking and with the additional projections that cleverly ease us through scene transitions, this show moves along with great pace. The stage management team should give themselves a big pat on the back.
I loved the use of lighting within this production which helped to create scenes where flashbacks were visualised in Norma’s mind and in particular the “With One Look” scene, where after Norma sang, the full colour of the set was brought up which gave a great contrast.
Paul Day’s twenty piece orchestra handled a complicated score with an amazingly good sound.
Director Tim Cater assisted by Carla Cater has done a fantastic job with this cast and both of them must be feeling immensely proud to have achieved such an outstanding show. I really think that if Andrew Lloyd Webber had an opportunity to see this production, he would seriously consider putting it back on again in the West End. Congratulations to LTC for a thoroughly enjoyable show!
www.southendtheatres.org.uk
With the clever use of projection to give the impression of an old film, the show begins with the titles being rolled, introducing us to who is starring, directing and leading the orchestra in this epic production. As the opening titles and subsequent film footage close, the curtain is lifted and the story of Joe Gillis and Norma Desmond’s relationship on Sunset Boulevard begins.
It’s 1949 and Joe Gillis is the Hollywood screenwriter, who having escaped from repossession agents, finds himself at Norma’s faded and dilapidated mansion. Norma, the faded star of the silent screen era, still living in the past persuades him to read a transcript she has written called Salome and convinces Joe that with her as the star of this film, she can make a comeback and be the Hollywood sensation she once was before Tinsel Town discovered talkies. Reluctantly Joe gives in to her pleas and their subsequent passionate and volatile relationship ensues.
He does, however, meet Betty Schaefer, a pretty, young script editor who proposes they work together to develop one of his earlier projects and inevitably their relationship becomes closer and Joe is torn between the two women.
Stephanie Wilson plays the iconic role of Norma Desmond and instantly knocks the audience dead with her rendition of “With One Look”. She perfectly captures this tragic, delusional ‘has been’. Joe comments, "You used to be in pictures – you used to be big," to which she retorts, "I am big ... it's the pictures that got small!" Stephanie’s performance throughout the show just gets stronger and stronger. I loved the desperation in “Perfect Year” as she longs for Joe to stay; and “As If We Never Said Goodbye”, when she finds herself back in the Hollywood film lot which left me with goosebumps. Her final scene, where her full pathetic vulnerability was displayed, was utterly heart wrenching.
Simon Bristoe plays Joe Gillis as effortlessly as if he’d been playing the part on the West End stage for years. His characterisation really has substance and Simon’s performance from beginning to end, both vocally and in character, was hugely watchable and proves that he really does have star quality.
Paul Allwright as Max, gave a wonderfully endearing performance as Norma’s loyal butler and I loved his powerful “The Greatest Star of All” number.
Another lovely performance was given by Victoria Tewes as Betty Schaefer, a new face in a leading role for LTC and again another performer with a fabulous voice.
In actual fact, everyone in LTC has a fabulous voice! The chorus numbers are polished and every single member of the group who has a solo - and there are many of them - sings it note perfect. It’s not often that I can say that I’ve seen a production of this proportion where there are no weak links, but this is it. LTC work so well as an ensemble and each scene has been choreographed using the stage to its full advantage thanks to Gemma Caracher.
Costumes all looked fabulous and of the period and the staging was equally impressive. The whole set is very plush and professional looking and with the additional projections that cleverly ease us through scene transitions, this show moves along with great pace. The stage management team should give themselves a big pat on the back.
I loved the use of lighting within this production which helped to create scenes where flashbacks were visualised in Norma’s mind and in particular the “With One Look” scene, where after Norma sang, the full colour of the set was brought up which gave a great contrast.
Paul Day’s twenty piece orchestra handled a complicated score with an amazingly good sound.
Director Tim Cater assisted by Carla Cater has done a fantastic job with this cast and both of them must be feeling immensely proud to have achieved such an outstanding show. I really think that if Andrew Lloyd Webber had an opportunity to see this production, he would seriously consider putting it back on again in the West End. Congratulations to LTC for a thoroughly enjoyable show!
www.southendtheatres.org.uk
What the audience thought
Ashton Moore, 22, Leigh on Sea
“I thought Stephanie Wilson and Simon Bristoe were great.” “I loved the opening number, everyone who sung in the chorus was spot on. It was beautifully sung for the period of the piece and the band was just brilliant.”
Biancha Szynal, 21,
“Simon Bristoe stood out for me. He took on the role really well and has an incredible voice.” “Stephanie Wilson was amazing, especially in As If We Never Said Goodbye.” “LTC have a great ensemble.”
Ashton Moore, 22, Leigh on Sea
“I thought Stephanie Wilson and Simon Bristoe were great.” “I loved the opening number, everyone who sung in the chorus was spot on. It was beautifully sung for the period of the piece and the band was just brilliant.”
Biancha Szynal, 21,
“Simon Bristoe stood out for me. He took on the role really well and has an incredible voice.” “Stephanie Wilson was amazing, especially in As If We Never Said Goodbye.” “LTC have a great ensemble.”
