‘SUNSET BLVD.: Nicole Scherzinger. Photo: Marc Brenner.

SUNSET BLVD.
Music by Andrew Lloyd Webber
Book and lyrics by Don Black and Christopher Hampton
Based on the Billy Wilder movie Sunset Boulevard

Directed by Jamie Lloyd
St. James Theatre

246 W. 44^th Street
https://sunsetblvdbroadway.com/

By Scott Harrah

Andrew Lloyd Webber’s Sunset Boulevard is a blend of illusion and reality. In previous productions, it featured a lavish, opulent set and costumes. Director Jamie Lloyd has totally reimagined and reworked the musical into a Sunset Blvd. (complete with an abbreviated title) for a new generation.

This production features projections instead of sets, all-black costumes and haze that may remind one of the smog on a Los Angeles freeway. It received seven Olivier Awards in London, including one for Best Musical.

A revolutionary reboot

In this revolutionary reboot of the classic musical, one must suspend reality and work on the illusion. The illusion is former Pussycat Dolls pop singer Nicole Scherzinger giving a younger, darker interpretation of the neurotic narcissist Norma Desmond. Understandably, Norma Desmond’s age has been changed from 50 to 40 since Ms. Scherzinger is in her 40s. One forgets about past revivals of the show because Ms. Scherzinger’s stage presence is so imposing, and her voice so soaring and ethereal that it’s almost operatic. She has the audience spellbound from the first moment she enters the stage.  The original version was a brilliant adaptation of Billy Wilder’s magnificent screen version of the same name. It was directed by Trevor Nunn and the set by John Napier was truly one of the greatest and most memorable sets of all time. They anchored the show and gave it splendor and meaning.

However, Mr. Lloyd’s version still has lots of meaning but a different type of splendor and no lavish sets. The plot centers on the same premise as the 1950 classic film Sunset Boulevard: Norma, a faded 1920s screen star of yesteryear who hasn’t worked in years, falling for a younger, broke screenwriter, Joe Gillis (Tom Francis). All the main characters from the Billy Wilder movie are here, from ambitious fellow screenwriter Betty Schaefer (Grace Hodgett Young) to the mysterious Max Von Mayerling (David Thaxton), Norma’s loyal and creepy servant.

A stylized Sunset Blvd.

This production lacks the grandeur of the original; it instead aims instead for a stylized approach. Here, we have people running around with handheld cameras—and that is not exactly original as this technique has been used on Broadway in recent years by other European directors. However, in a revival of musical adaptation of a classic Hollywood film, it somehow works here.  A screen is suspended above the stage, used as a backdrop on which to project close-ups of Norma and Joe. Credits are seen scrolling both at the beginning and end of the show, like one is watching an old black and white film noir on late-night TV. Video designs and cinematography by Nathan Amzi and Joe Ransom, lighting design by Jack Knowles and sound design by Adam Fisher all help to create this ambience.

Mr. Francis, as Joe, sings the titular song “Sunset Boulevard” on camera, off stage, as we see a projection of him walking through the Broadway theatre district outside. He finally enters the stage of the St. James. Norma stands there eerily, waiting for him.

Purists may quibble that, without the garish costumes and ornate sets of previous productions, this Sunset Blvd. has none of the glamour necessary to evoke the time period and truth of Andrew Lloyd Webber’s score and the original book and lyrics by Don Black and Christopher Hampton. However, everything about Jamie Lloyd’s twist on both the visual exposition and narrative of the musical is fresh and innovative, and that is truly rare in normally gimmicky “modern” revivals of classic Broadway. Fortunately, most of the cast are exceptionally good.

Outstanding cast

Nicole Scherzinger’s Norma is snarkier and more quick-witted than the vulnerable Norma Desmond many are accustomed to, and she has brilliant timing when reciting such iconic lines as “I am big. It’s the pictures that got small,” and “We didn’t need dialogue. We had faces!” When Ms. Scherzinger belts out any of the show’s songs, her vibrato is stratospheric. Her vocals are magical and truly unforgettable.

Equally important, Mr. Francis as Joe also has a powerful voice, as does David Thaxton as Max Von Mayerling. Both actors give first-rate performances. In addition, Grace Hodgett Young is also superb as Betty Schaefer, the upbeat screenwriter with romantic designs on Joe.

In conclusion, Jamie Lloyd’s avant-garde spin on Sunset Blvd. is so provocative, outrageous and stripped bare of everything that many will either hate it or love it. At the performance this reviewer attended, the audience was definitely loving the show, judging from the thunderous applause after each song. One thing is certain: This unconventional Sunset Blvd. is a must-see phenomenon.

Published October 28, 2024
Reviewed at October 24, 2024 press performance

SUNSET BLVD.’: Tom Francis & Nicole Scherzinger. Photo: Marc Brenner.

‘SUNSET BLVD.’: Nicole Scherzinger & Hannah Yun Chamberlain. Photo: Marc Brenner.

‘SUNSET BLVD.’: Nicole Scherzinger. Photo: Marc Brenner.

‘SUNSET BLVD.’: Tom Francis (center) & cast. Photo: Marc Brenner.

‘SUNSET BLVD.’: Grace Hodgett Young. Photo: Marc Brenner.

‘SUNSET BLVD.’: The cast. Photo: Marc Brenner.

‘SUNSET BLVD.’: (projected onto the screen left to right): Nicole Scherzinger, Hannah Yun Chamberlain & Tom Francis (seated). Photo: Marc Brenner.

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‘BAD CINDERELLA’: Linedy Genao & Jordan Dobson. Photo: Matthew Murphy & Evan Zimmerman.

BAD CINDERELLA
Book by Emerald Fennell
Music by Andrew Lloyd Webber
Lyrics by David Zippel
Directed by Laurence Connor
Choreographed by JoAnn M. Hunter
Imperial Theatre
249 West 45th Street
(212-239-6200), badcinderellabroadway.com

By David NouNou

Bad Cinderella isn’t as horrendous as you may have heard or read, but it is pretty awful. The only two musicals that are worse, since the theatres reopened in September of 2021,  are: Diana, The Musical, which was so ridiculously bad, making it amusing enough for audiences to revel in its lunacy. The second was last fall’s disastrous and totally misguided inept all-female revival of 1776, which, by the way, also had Carolee Carmello in it.

What makes Bad Cinderella such a head-scratching enigma is that there is so much pedigree in it. How can you screw up Cinderella? The creators found a way: Emerald Fennell, who won an Oscar for her brilliant screenplay of Promising Young Woman, tried to give an edgy twist to the Cinderella plot instead wrote herself into a humorless trainwreck. The lyrics by David Zippel are bland and clichéd. They both failed Andrew Lloyd Webber’s music. This is not to say that this is among Lord Lloyd Webber’s best, but they are melodic and kind of have a staying power in your head.

This Cinderella (Linedy Genoa) is bad. She is a rebel and doesn’t take sass from anyone. There is no Prince Charming here—he comes later (don’t ask), but there is his younger meek brother, Sebastian (Jordan Dobson). There is also the Queen Mother (Grace McLean), the wicked stepmother (Carolee Carmello) and two stepsisters: Adele (Sami Gayle) and Marie (Morgan Higgins) and an array of witless vapid young ladies trying to capture Sebastian’s heart, and an array of shirtless “hunks” (as Playbill dubs them) with leather harnesses on (please again, don’t ask). Because other than the initial Cinderella storyline nothing makes sense in this rendition. The trouble here is that the show takes itself too seriously, and unlike Diana, The Musical (which was a fun hot mess), there is no joy in goofing on it.

Both Ms. Genoa and Mr. Dobson lack the experience, presence and the charm to make Cinderella and Sebastian likeable characters. As for the rest of the cast— and this includes the always dependable Carolee Carmello—they are all so over the top, with exaggerated overacting, that the smell of stale ham reeks throughout the theatre.

There is also the unforgivable misguided direction of Laurence Connor who also did Lord Webber a disservice. It is so heavy-handed and aimless, that he has no real vision of what is happening on the stage. If you saw his previous revivals of Les Misérables in 2014 and Miss Saigon in 2017, you would understand. In this case not being a revival, there is no real structure, the transitioning from one scene to the next has no real continuity; they just happen. Thrown in between is JoAnn M. Hunter’s listless choreography.

What is so sad about this musical is that Andrew Lloyd Webber delivered the music, but no one and nothing else came up to his level. Let’s hope that Phantom of the Opera gets extended again, this time for the summer, and thus gives Lord Lloyd Webber a fitting send-off.

Edited by Scott Harrah
Published March 27, 2023
Reviewed at March 26, 2023 press performance.

‘BAD CINDERELLA’: Carolee Carmello. Photo: Matthew Murphy & Evan Zimmerman.

‘BAD CINDERELLA’: Grace McLean & Carolee Carmello. Photo: Matthey Murphy & Even Zimmerman.

‘BAD CINDERELLA’: Linedy Genao. Photo: Matthew Murphy & Evan Zimmerman.

‘BAD CINDERELLA’: Linedy Genao. Photo: Matthew Murphy & Evan Zimmerman.

‘BAD CINDERELLA’: Morgan Higgins & Sami Gayle. Photo: Matthew Murphy & Evan Zimmerman.

‘BAD CINDERELLA’: Grace McLean. Photo: Matthew Murphy & Evan Zimmerman.

‘BAD CINDERELLA’: Jordan Dobson & Grace McLean & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘BAD CINDERELLA’: Cristina Acosta Robinson. Photo: Matthew Murphy & Evan Zimmerman.

‘BAD CINDERELLA’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

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‘SUNSET BOULEVARD’: Glenn Close. Photo: Joan Marcus

SUNSET BOULEVARD

Music by Andrew Lloyd Webber
Book and lyrics by Don Black and Christopher Hampton
Based on the Billy Wilder movie Sunset Boulevard

Directed by Lonny Price
Palace Theatre

Broadway & 47th Street

(877-250-2929), www.SunsetBoulevardTheMusical.com

By David NouNou

Sunset Boulevard is a blend of illusion and reality. In this version you have to suspend reality and work on the illusion. The illusion is Glenn Close recreating her 1995 Tony-winning role of Norma Desmond. I give her all the credit in the world for tackling this venture. The original version was a brilliant adaptation of Billy Wilder’s magnificent screen version of the same name. It was thrillingly directed by Trevor Nunn and the set by John Napier was truly one of the greatest and most memorable sets of all time. They anchored the show and gave it splendor and meaning.

There is no need to labor on the plot, because as we all know it is about the faded screen star of yesteryear falling for a hack younger screenwriter. We knew that this version would be scaled down, which is okay. However, it is pared down so much that at times it borders on what Carol Burnett did on her TV show, a hilarious parody of Sunset Boulevard in which she played “Nora Desmond.” From the confusing direction by Lonny Price to the most utilitarian set of scaffoldings by James Noone, this production lacks the majesty and grandeur of the original.

This revival originated at the Coliseum Theatre in London last year and now has transferred to the mammoth Palace Theatre. The four principals of Glenn Close (Norma Desmond), Michael Xavier (Joe Gillis), Siobhan Dillon (Betty Schaeffer) and Fred Johanson (Max von Mayerling) are all intact, but the quality of the performances varies indeed. Of course the people have come to see Glenn Close recreate her magical performance, but in this instance it is more of a caricature. Ms. Close is adept enough of an actress to pull it off—she still brings a haunting sincerity to the role—but she should have stuck to her old performance which had more character and less, well…caricature.

As for the other three leads, it is anyone’s guess of why they have transferred to Broadway. Originally played by Alan Campbell as Joe, George Hearn (winning his second Tony for playing Max, and Alice Ripley as Betty.) Since Joe is the lead (remember the gorgeous William Holden in the movie?), Michael Xavier is excruciatingly bland. He lacks the charm and charisma that makes Norma fall for him and this throws the whole balance of the show off kilter. Fred Johanson as Max is a combination of Daddy Warbucks from Annie and Lurch from “The Addams Family,” and this is another wrench, thus eradicating any semblance of regality, pompousness and authority. Ms. Dillon as Betty comes off best; she does the ingénue role well.

There is redemption here; the score by Andrew Lloyd Webber, Don Black and Christopher Hampton remains sublime and among Mr. Webber’s best music. The orchestra, conducted by Kristen Blodgette, is a highlight that makes the evening memorable, and of course there is Glenn Close. After all, what would Sunset Boulevard be without her?

Edited by Scott Harrah
Published February 23, 2017
Reviewed at performance on February 22, 2017

‘SUNSET BOULEVARD’: Glenn Close. Photo: Joan Marcus

‘SUNSET BOULEVARD’: Michael Xavier. Photo: Joan Marcus

‘SUNSET BOULEVARD’: Michael Xavier & Siobhan Dillon. Photo: Joan Marcus

‘SUNSET BOULEVARD’: The cast. Photo: Joan Marcus

‘SUNSET BOULEVARD’: The cast. Photo: Joan Marcus

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‘CATS’: British pop sensation Leona Lewis as Grizabella. Photo: Matthew Murphy

CATS
Music by Andrew Lloyd Webber
Based on “Old Possum’s Book of Practical Cats” by T.S. Eliot
Choreography by Andy Blankenbuehler
Based on original choreography by Gillian Lynne
Directed by Trevor Nunn
Neil Simon Theatre
250 W. 52nd Street
877-250-2929, http://www.catsthemusical.com/broadway/

By Scott Harrah

Back on Broadway after a 16-year absence, this spectacular yet scaled-down reboot of the Andrew Lloyd Webber mega-hit will definitely thrill Cats aficionados, but may irk some purists. The show, first mounted on Broadway in 1982, was one of the original British import musical phenomena of the era and ran for 18 years at the Winter Garden here in New York. The fact that it’s now playing at the much smaller Neil Simon makes it obvious the show isn’t as extravagant as the original, but it’s still a visual feast, thanks to John Napier’s elaborate kitty junkyard set, the famous 1980s aerobics-style cat suits and updated choreography by Andy Blankenbuehler (based on Gillian Lynne’s original, ballet-style movements).

This reviewer never saw the original, but most of us have at least seen vintage footage of Betty Buckley on the Tony Awards singing “Memory” or have heard the soundtrack, rented the DVD or watched snippets on YouTube.

Although hardly Mr. Lloyd Webber’s best musical, Cats is a classic regardless. It’s easy to see why. Although there really isn’t any plot, the action revolves around T.S. Eliot’s “Jellicle Cats” in a junkyard, each telling their story in song, and everything is simplistic enough for kids from age three to 93 to comprehend. This is a show for the whole family, and most kids love cats, so it never needed a strong narrative. Still, this remains a musical that often draws “love it” or “hate it” reactions from audiences. It has none of the soaring, haunting melodies of Mr. Lloyd Webber’s far superior works The Phantom of the Opera and Evita except for one song that is now one of the most renowned show tunes of the past three decades: “Memory,” of course.

This brings us to the controversial casting of British pop singer Leona Lewis as Grizabella, the aging “glamour cat.” At age 31, the singer, famous for such hits as “Bleeding Love,” seems too young and chic to be convincing as the worn-out Grizabella, a cat yearning for her lost youth. Her voice is good, and her range is perfect for pop but not always powerful enough for the live stage. In addition, Ms. Lewis’s costume is far more elegant and stylish than the one worn by Betty Buckley (and Elaine Paige in the original London production).

This 21st century version is mostly notable for the first-rate performances of many other cast members, including Emily Pynenburg as Cassandra; Christine Cornish Smith as Bombalurina; Tyler Hanes as Bill Bailey/Rum Tum Tugger; Kim Faure as Demeter; Andy Huntington Jones as Munkustrap; Quentin Earl Darrington as Old Deuteronomy; and Christopher Gurr as Gus, the Theatre Cat. Director Trevor Nunn brings out the best in nearly all the actors and makes the cast gel cohesively.

One wonders if Mr. Nunn’s revival might have been more powerful had he put a modern, fresh spin on the show. Perhaps different costumes (although the Lycra leotards are the show’s trademark) or some tweaks to the set might have given this Cats a different kind of new life. However, gimmicky revivals almost never work (think of all those John Doyle retoolings of Stephen Sondheim shows in which actors also played instruments), so Mr. Nunn was wise not to tamper too much with Mr. Lloyd Webber’s winning formula. It is debatable whether this production will win over new generations, but if you enjoyed Cats before and want to relive the “Memory” again, there is plenty to enjoy here.

Edited by Scott Harrah
Published August 7, 2016
Reviewed at press performance on August 4, 2016

‘CATS’: Andy Huntington Jones as Munkustrap. Photo: Matthew Murphy

‘CATS’: Tyler Hanes as Rum Tum Tugger. Photo: Matthew Murphy

‘CATS’: Quentin Earl Darrington as Old Deuteronomy. Photo: Matthew Murphy

‘CATS’: Georgina Pazcoguin as Victoria. Photo: Matthew Murphy

‘CATS’: Kim Faure as Demeter & Christine Cornish Smith as Bombalurina & company. Photo: Matthew Murphy

‘CATS’: The company. Photo: Matthew Murphy

‘CATS’: Leona Lewis. Photo: Matthew Murphy

‘CATS’: Leona Lewis. Photo: Matthew Murphy

FLASHBACK TO ORIGINAL PRODUCTION: Betty Buckley as Grizabella in ‘Cats’ back in 1982. Photo: Martha Swope

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‘SCHOOL OF ROCK’: (left to right) Alex Brightman, Dante Melucci & Evie Dolan. Photo: Matthew Murphy

SCHOOL OF ROCK
Book by Julian Fellowes
Music by Andrew Lloyd Webber
Lyrics by Glenn Slater
Directed by Laurence Connor
Choreographed by JoAnn M. Hunter
Winter Garden Theatre
1634 Broadway at 50th Street
(212-239-6200), www.schoolofrockthemusical.com/

By David NouNou

Having not seen the 2003 movie School of Rock and knowing very little about it (other than it was a huge hit for Jack Black) definitely gave me a leg up to enjoy this vastly entertaining musical. For me, it was seeing an original musical and it’s a rock-ass thrill. Adding to that thrill is the music by Andrew Lloyd Webber (longtime favorite) going back to his rock roots of Jesus Christ Superstar, and the book is by Julian Fellows of “Downton Abbey” fame. Who would have thought that these two “very proper” Englishmen would give us a most compelling rock musical of this generation?

Like Matilda, it is a child that tries to make sense of the outside world and fit in it. Dewey Finn (Alex Brightman) is not a little girl and certainly not a child; he is more akin to Peter Pan, the child that doesn’t want to grow up. Dewey is a misfit. He has been kicked out of his rock band; he’s despondent, and lives in the home of a former bandmate, Ned Schneebly (a substitute teacher) and his girlfriend Patty. Dewey owes them a lot of back rent. Patty has had enough of his slovenliness and wants him out, until one day a call comes for Ned and is intercepted by Dewey. The call is from staunch Principal Rosalie Mullins (Sierra Boggess) for a substitute teacher at the prestigious Horace Green Prep School. Needing money, Dewey goes for the job posing as Ned.

Dewey is confronted by children who come from privilege and overachieving parents who have no clue as to who their children are and what they can actually accomplish. This becomes a learning lesson for both. Dewey gets to learn about the kids and himself; the kids learn to abandon discipline and overcome their insecurities. He has to train them to fulfill his dream in competing in the “Battle of the Bands.” The two become co-dependent and both grow, learn and mature in the process.

I would probably say that the most daunting task in originating this musical was to find the proper Dewey. You couldn’t just bring a Jack Black imitator; you had to bring a Dewey that can make the character real for the stage. After all he is the loser. However, he has to have enough likability, charm and charisma to be able to win the audience over and root for him. This task has fallen into the hands of Alex Brightman.

I hate to use the term overnight star, because that term on Broadway is so ephemeral and overused. Mr. Brightman has paid his dues and has to his credits roles in Wicked, Big Fish, as well as Matilda. He is a person that should be noticed in the future, and come awards time next spring, he has to be recognized.

Earlier this spring, Sierra Boggess was in the abysmal musical It Shoulda Been You and previously was enchanting as Christine in Mr. Lloyd Webber’s The Phantom Of the Opera. Although she has the beautiful, haunting song “Where Did the Rock Go?” in Act II and learns to defrost, her Principal Mullins is a thankless role.

As for the children, they are all perfection and they actually play their musical instruments and are versatile performers in acting, singing and dancing. Laurence Connor, who directed the current version of Les Miserables has tapped into a much lighter venue (rock comedy) he keeps things constantly moving and never allows the children to be annoying or cloying. He respects them and gives each one of them a distinct personality and we get to know them as individuals.

In the end, it is Julian Fellows (book), Andrew Lloyd Webber (music) and Glenn Slater (lyrics) who are the real rock stars of School of Rock. Without them, we wouldn’t have had this infinitely delightful head-banger.

Edited by Scott Harrah
Published December 18, 2015
Reviewed at performance on December 17, 2015

‘SCHOOL OF ROCK’: Alex Brightman & Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Alex Brightman & the adult ensemble. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Alex Brightman & the kid band. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: (left to right) Evie Dolan, Alex Brightman & Brando Niederauer. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: The children’s ensemble & Sierra Boggess. Photo: Matthew Murphy

‘SCHOOL OF ROCK’: The children’s ensemble. Photo: Matthew Murphy

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THE PHANTOM OF THE OPERA
Book by Richard Stilgoe & Andrew Lloyd Webber
Music by Andrew Lloyd Webber
Lyrics by Charles Hart
Based on the novel by Gaston LeRoux
Directed by Harold Prince
Choreography by Gillian Lynne
Majestic Theatre
247 West 44th Street
(212-239-6200), https://us.thephantomoftheopera.com/

By David NouNou

Whether one calls it a Broadway sensation or a tourist attraction, one can’t deny that Phantom is a musical phenomenon. Opened on January 28, 1988, it was the blockbuster then and is still playing strong almost 27 years later. Seeing it originally in 1988 with Michael Crawford and Sarah Brightman, one was dazzled by the show and its showmanship. Seeing it now, one can’t help but study the audience as much as the show. Surely every New Yorker has seen this show at least once. However, observing and listening to the audience now, you realize that you might be the only native New Yorker in the theatre. Just like the Statue of Liberty and The Empire State Building, Phantom has become an institution that is visited by people from all over the world.

So what makes this the longest-running Broadway show? 26 years may not seem long historically, but imagine if you had a child on the night you saw this show in early 1988; your child would be 26 years old today and that is truly monumental.

What is it that has captivated audiences for all these years? It seems like a mandatory subject in schools to see this show, because at any given performance there are the lines of students waiting to get in. What is the mystique that surrounds this show?

Everyone knows the story of this love triangle between opera singer, Christine Daae (Sierra Boggess), her mentor, the phantom (Norm Lewis) and her suitor, Raoul (Jeremy Hays), so no need to dwell on the storyline. The magic flows from Andrew Lloyd Webber’s immortal music. American or foreign tourist, there isn’t anyone who is not familiar with that lush score. Needless to say, with its pre-recorded musical tracks, it engulfs the senses and turns the melodies into grand, operatic arias. From its design standpoint, it has been maintained to perfection. The sets and costumes by the late Maria Bjornson are still a standout and enthralling as ever. Rest assured that the visual feast has not deteriorated or frayed.

The style of acting and singing is more operatic in nature than realistic for the stage. So the cast has its ups and downs. Sierra Boggess as Christine is an amplified singing nightingale. Norm Lewis, as the Phantom, has a great deep singing voice, but his Phantom is more a pitiable old man than a mesmerizingly menacing seducer and lacks the charisma to fill the stage, especially when he is not on that much. Jeremy Hays in the thankless role of Raoul is just there. As far as the supporting cast is concerned, you have to grade them on a cheese scale; from camembert to Roquefort to stilton. They do need a tighter rein; less broad, “over the top’ and more down-to-earth realism.

As a whole, The Phantom of the Opera is still a gem of a show, the last of its kind. It’s a link to the theatrical past when the shows were opulent and eye-popping. If anyone ever wondered what splendiferous shows of yesteryear were like, I would urge you to see Phantom.

Edited by Scott Harrah
Published June 26, 2014
Reviewed at performance on June 25, 2014

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