Sunset Boulevard, the musical penned by Andrew Lloyd Webber and based on the 1950 classic film is a story which dives deeply into the world of classic Hollywood – with its many highs and lows. The glitz and glamour from the studio’s hollow film sets and cameras are the perfect metaphor for the superficial and feeble nature of the industry – one that keeps pulling its victims back for their big break, their comeback, or as Norma Desmond would prefer it stated – their return.
The musical has not been seen in Australia since 1996, headlined by Hugh Jackman and a complicated Debra Byrne. This time, Melbourne audiences are spoiled with the phenomenon that is Sarah Brightman. Brightman oozes stage presence and commands captive attention – as is necessary when filling the role of twilight-era diva, Norma Desmond. Her notoriety alongside her iconic tone and vibrato is iconic, and a spectacle to behold. While Brightman rightly secures top billing, Tim Draxl, who plays hard-for-work writer Joe Gillis puts on a marathon display of charisma, talent, and charm – and deserves just as much (if not more) attention for his role as Brightman.
The production leans heavily into its Hollywood theme. The set design is exquisite, with a beautiful interior living room setting the scene for the majority of the performance. Transitions involving a projected car travelling between locations may seem kitsch, but are entirely suitable thematically, and various rainstorms are effectively executed using both digital projections and more traditional set design.
The performance itself feels long. In the context of Melbourne theatre at the moment, it is an important distinction that this is spearheaded by Opera Australia. In a season where punchy, engaging performances (such as Six, & Juliet, Moulin Rouge) are at their heights of popularity, Sunset stands alone as a traditional piece of theatre, with operatic roots. This is not a criticism. Purists will appreciate the callback to theatre of the early 90’s, and anyone looking to understand the breadth of Andrew Lloyd Webber’s work will appreciate the change of pace.
This is a very different story to Jesus Christ Superstar, and Phantom. In fact, for those unfamiliar to the story (of which there are many) it is strongly encouraged to enter the experience blind and appreciate the turn of events as intended. In 2024, the themes surrounding mental health, the desire for company and the pressures of supporting those in need are as prevalent as ever before.
By understanding this performance and appreciating its message, one leaves Sunset Boulevard feeling that they’ve witnessed something special. Impeccable performances by stars domestic and international – an opportunity to see an something different to the norm and a great callback to the classic art of theatre – both cinematic and musical.