Sarah Brightman stars in SUNSET BOULEVARD in Sydney

Sarah Brightman makes her Sydney Opera House debut in SUNSET BOULEVARD, which opens on Friday 29 August. The production features a 28-piece orchestra bringing Andrew Lloyd Webber's work to life on the Sydney Opera House stage.

This new production, based on the Paramount Pictures film, features sets and costumes reminiscent of Hollywood's glamorous Golden Age. The score includes hits “With One Look,” “The Perfect Year” and the anthemic “As If We Never Said Goodbye.”

SUNSET BOULEVARD has music by Andrew Lloyd Webber, book and lyrics by Don Black and Christopher Hampton and is based on the film from Paramount Pictures. Directed by Paul Warwick Griffin, with sets and costumes by Morgan Large. Choreography by Ashley Wallen, musical direction by Kristen Blodgette.

SUNSET BOULEVARD tells a magnificent story of faded fame and unfulfilled ambition. Legendary silent film actress Norma Desmond was dropped by Hollywood with the advent of talkies and longs to return to the screen. When she meets unsuccessful Hollywood screenwriter Joe Gillis in a dramatic chance encounter, their ensuing passionate and volatile relationship leads to an unforeseen and tragic end.

Let’s see what the critics say…

Jansson J. Antmann, Limelight: The brand new production of Sunset Boulevard, which opened last night at the Sydney Opera House, is nothing short of a triumph and, perhaps most importantly, Andrew Lloyd Webber's brilliant score is the highlight. Starring Sarah Brightman, Tim Draxl, Robert Grubb and Ashleigh Rubenach, it also offers arguably the best interpretations of the musical's lead roles in this dazzling tribute to the Golden Age of Broadway.

Chantal Nguyen, Sydney Morning Herald: Unfortunately, the Brightman-Christine role is light years away from the crazed Hollywood graduate Norma Desmond, the grotesque, manipulative and ultimately pitiful star of Sunset Boulevard. Norma's character and her songs have a powerful appeal, best sung with a tortured, complex vocal range. Strong actresses capable of danger and madness, such as Glenn Close, Nicole Scherzinger and Patti LuPone (the original Norma), all excelled in the role. Brightman doesn't so much excel as smile sweetly. There's little difference in her performance when Norma is happy, suicidal, sane, crazy, loving or murderous. Brightman's interpretation of “retarded development” – that Norma is developmentally stuck in her role as an ingenue – is simply ill-suited to carrying the vocal or theatrical burden of this tragic role.

Check back later to read more reviews as they come in!

Comments

To post a comment, you must register And Login.