Alone in the dark, with little more than her celluloid memories, Norma Desmond remains what she has always been- the greatest star of all. Now, she has reclaimed the spotlight once more.
Glenn Close returns to Broadway in the tour de force performance that earned her the Tony Award for Best Actress- and a place in Broadway history- in Sunset Boulevard.
Featuring a 40-piece orchestra, the largest in Broadway history, Andrew Lloyd Webber's Tony Award-winning masterwork of dreams and desire in the land called Hollywood comes to the Palace Theatre for 16 weeks only following a sold out run in London's West End.
Not so Ms. Close. To be sure, she is 69, much older than the 50-year-old character whom she plays, but that doesn't matter in the least. If anything, her greater age makes Norma's plight all the more pitiable, and Ms. Close's performance, by turns adamantine and childishly needy, is as memorable in its own way as was that of Gloria Swanson in the movie. No, the fundamental problem with turning 'Sunset Boulevard' into a musical is that it is perfect, a fact that is well understood by Don Black and Christopher Hampton, whose book is largely faithful to the Wilder-Charles Brackett script, give or take a sprinkling of superfluous four-letter words (though their lyrics are sing-songy and ill-crafted). The truth is that 'Sunset Boulevard' doesn't need songs, or anything else that it doesn't already have in abundance. Saving Ms. Close's presence, to change anything at all is necessarily to diminish the film's overwhelming effect.
The applause starts when the curtain rises, to reveal a forty-person orchestra onstage -- according to the producers, one of the largest in Broadway history. The mad clapping starts up again a few minutes later, when Glenn Close enters the proceedings, revisiting a role that twenty-two years ago won her the Tony. On the night I saw the show, even a single line of Close's dialogue -- the famous, 'I am big, it's the pictures that got small' zinger -- generated a new round of cheers. This isn't merely the fault of an overeager audience, though. Director Lonny Price and his lead actress seem determined to force you out of the moment, overloading the production with so many 'Major Theatrical Event' moments and signposts that it all starts to sag beneath the weight of its own self-importance.
1993 | West End |
Original London Production West End |
1993 | Regional (US) |
Los Angeles Production Regional (US) |
1994 | Broadway |
Original Broadway Production Broadway |
1995 | Canada |
Toronto Production Canada |
1996 | US Tour |
1st National Tour US Tour |
1998 | US Tour |
2nd National Tour US Tour |
2004 | London Fringe |
London Concert Revival London Fringe |
2016 | West End |
English National Opera West End Revival West End |
2017 | Broadway |
Broadway Revival Production Broadway |
2023 | West End |
West End |
2024 | Broadway |
Broadway Revival Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2017 | Drama Desk Awards | Outstanding Lighting Design for a Musical | Mark Henderson |
2017 | Drama League Awards | Outstanding Revival of a Broadway or Off-Broadway Musical | Sunset Boulevard |
2017 | Outer Critics Circle Awards | Outstanding Revival of a Musical (Broadway or Off-Broadway) | Sunset Boulevard |
2017 | Theatre World Awards | John Willis Award for Lifetime Achievement in the Theater | Glenn Close |
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