Sunset Boulevard

Today we have another Webber musical and this one isn't nearly as...different...as Starlight Express was. The play originally debuted at the Sydmonton Festival in 1991 and 1992. The show has lyrics by Don Black and Christopher Hampton and music, of course, by Andrew Lloyd Webber. It won Tonys for Best Musical, Best Book, and Best Score. I certainly hope it lives up to that hype. :)

We start with "Overture/I Guess it Was 5AM." The overture itself is majestic and somber. It's fairly haunting. "I Guess it Was 5AM" starts talking about a murder. The song sounds pretty jazzy and I can't help but feel like it has elements of film noir.

"Let's Have Lunch" is the next song. The narrator, Joe, is a struggling screenwriter. Some repo men attempt to repossess his car. This is a very catchy song. He brings his script to a producer who shoots it down. He seems desperate for a job. Near the end of the song it has some great polyphony between the characters.

"Every Movie's a Circus" has a character named Betty telling Joe she likes his script. He has her distract the repo men and he avoids them...briefly. This leads to...

"Car Chase". It's exactly what it sounds like. It's an exciting instrumental piece, not unlike what one might hear in a decent action movie. He makes it to a garage at an old, run-down mansion.

"At the House on Sunset" has Joe wondering where he is. He's beckoned inside the house by aging silent film star, Norma Desmond. She never made the transition from silent-films over to movies.

"Surrender" has Norma singing about how things used to be. You can feel how heartbroken she is about no longer being in the limelight.

"With One Look" is a song you'll hear on any Broadway radio station and with good reason. There's something about it that sends chills down your spine. Norma exclaims how she is still capable of performing and that she doesn't need to speak to capture the hearts of the audience. It almost brings tears to my eyes just listening to this one. The version I listened to is the version that has Glenn Close in the role of Norma and she really tears it up.

"Salome" has Norma speaking with Joe about a script she wrote that she wants DeMille to direct called, well, Salome. She explains what the film will be about and that she wants to play the lead role. Joe sees potential in the script and convinces her to let him revise the script. There's a lot of energy in this song. Joe gives his own commentary about the incoherency of the plot, but he promises to attempt to revise it.

"The Greatest Star of All" has Max, Norma's butler, explaining why he loves her and why he stays with her. This version has George Hearn playing Max, and he never disappoints. Words cannot explain the feeling he puts into this song. After this, Joe makes observations about Norma's fame with her crying in the background.

Next is a reprise of "Every Movie's a Circus" and a MAJOR tone shift. This song is very upbeat, likely to offset the very sad songs before. Joe talks with Betty and it leads into...

"Boy Meets Girl". It seems Joe and Betty are diving into a romance. It's a cute song. Betty gives Joe some advice about what to do with the ending of "Salome". Some of the lyrics are pretty funny in-context of the time period the show takes place in.

"Back at the House on Sunset" has Max explaining that he writes all of Norma's fanmail. Apparently Norma is incredibly fragile and attempts to commit suicide. Joe is not happy with the circumstances, but continues to write.

The next song is "New Ways to Dream". Norma sings about how her films made people dream and think imaginatively. It's another very pretty song with echoes of "With One Look". Joe thinks on how beautiful Norma still is.

"Completion of the Script" has Joe finishing the script during a huge rainfall. Not long after the narration, organ music plays and Norma says Max will deliver the script to Demille. Joe thanks Norma for trusting him and Norma thanks Joe for finishing it. She's incredibly possessive of Joe now and she falls to pieces when he speaks of wanting to leave. Creepy.

"The Lady's Paying" has Norma giving a birthday party to Joe. Joe is given an entirely new wardrobe by a flamboyant tailor. It reminds me of the songs in Phantom that the owners of the theatre sing. Joe plans to go to a New Year's Eve party, but Norma doesn't want him to go.

"New Year's Eve" has Norma throwing her own party with Joe wanting to leave. The two dance the tango.

"The Perfect Year" continues the tango and I'm fairly certain that isn't the only dance they're doing (wink wink nudge nudge). Joe's in a bit of a pickle now. He finally figures out that there were no other guests. Norma is in love with him. He's freaked out. He ducks out.

"This Time Next Year" takes place at the New Year's party Joe's friend is throwing. It's a high energy song as a drunken party should reflect. The characters all talk about what they wish to do with the year and what they hope to be doing by this point next year. It really sounds like a good Webber song. He plans to stay with Artie and calls Max to have him bring his suitcase, but it seems Norma has cut her wrists with his razor.

When Joe returns back to Norma's house in "New Year's Eve: Back at the House", she isn't happy. Joe placates her by finishing Salome. He stays with her and the act finishes out.

There is an intermission song in "Entr'acte" and Act II starts.

"Sunset Boulevard" picks back up with Joe singing about his current situation at Sunset Boulevard. This is a haunting song about the problems of living in Hollywood. This song is probably my second favorite in the show behind "With One Luck" and "As if we Never Said Goodbye".

"There's Been a Call/Journey to Paramount" is about a phonecall Paramount apparently made to the house. Norma believes DeMille is interested in the film, but won't call back until she's ready. She dresses up extravagantly and makes her way to the studio. Someone working at the gate recognizes her. DeMille is ready to see her.

"As if we Never Said Goodbye" has several people recognizing Norma and greeting her warmly. This song is another very recognizable one. It uses the same melody as "With One Look" and is about how familiar the world of Paramount. It's truly a beautiful song. It's definitely a tie between the aforementioned song and this one for my favorite song.

"Paramount Conversations/Surrender(reprise)" has us figuring out that Norma was only called for the use of her car in a future film. Norma is too delusional to see it and still believes that they'll call her back in soon.

Next, we get a reprise of "Girl Meets Boy". Betty isn't so happy about how Joe has been avoiding her, but she continues to help him come up with an idea. It's a nice little look at a character that isn't Norma. :p

"Eternal Youth is Worth a Little Suffering" has several characters getting Norma ready for stardom again. It's much like "The Lady's Paying" in that certain characters are this song that will likely never be heard from again.

"Who's Betty Schaefer?" has Norma figuring out that Joe has a thing going on with Betty. She is very upset, as we'll see.

"Betty's Office at Paramount" has Joe and Betty writing in her office. Ooh, romance~ Clearly, this won't end well.

"Too Much in Love to Care" has Betty explaining that Artie wants her to move to Tennessee with him. She doesn't wish to do this and tells Joe she's in love with him. We finally get a big song for Betty and Joe. Joe doesn't know how to feel and is conflicted. They decide that they're too much in love to care if their love is foolish or not. We also learn Max was the director of Norma's early films.

"New Ways to Dream (reprise)" is sung by Max and it's an explanation of how he discovered Norma and helped her rise to stardom. Max was Norma's first husband. It's a beautiful song and shows why Max really cares for her so much.

"The Phone Call" has Norma calling Betty. It's a scathing song that has her telling Betty just what Joe is "up to". Joe takes the phone away from Norma and tells Betty that she should see for herself the place he is living in. You can feel how desperate Norma is not to lose Joe.

"The Final Scene" has a (literally) thunderous opening. Joe tells Betty about how he is basically Norma's pet and he enjoys it. He doesn't want to leave the things he has gained with Norma to go back to his apartment. Joe tells Betty to go back to Artie and she tearfully leaves. Norma goes to Joe and thanks him. Joe is packing his things to head back to his hometown in Ohio. He tells Norma the truth about what Paramount wanted her for and about her fan mail. She breaks down and shoots Joe. She's in complete mental shock and in a delusional breakdown. She thinks she's on the set of Salome and descends. The song has a lot of throwbacks to earlier songs in the show. She gives a final speech to a person she believes to be Mr. DeMille. She delivers the immortal line "And now, Mr. DeMille, I'm ready for my close up." It's very sad, especially given everything Norma has gone through. Even being insane, you can feel her pain.

I loved this musical. It has everything that a musical needs to interest me and it has a LOT of heart. It's, of course, based on the famous movie of the same name and it really lives up to it. Webber hits it out of the park with the music for this one, and Glenn Close is absolutely breathtaking as Norma. I DEFINITELY recommend listening to this one.