Sunset Blvd

By Joseph Cervelli

There is no doubt that Nicole Scherzinger's singing in the chaotic, concert like feel of Jamie Lloyd's  interpretation  of the classic "Sunset Blvd." at the St. James Theatre is certainly unforgettable. Too bad most of the show which has an over indulgent feel is not so memorable. 

Nicole Scherzinger is astounding in her rendition of two of Andrew Lloyd Webber's beautiful songs in his  gorgeous score (lyrics and book by Don Black & Christopher Hampton) first heard when the original with sets and costumes premiered back in 1994. Scherzinger's  "With One Look" has her hitting notes that I could not imagine be replicated, but they are when she sings the 11 o'clock number "As If We Never Said Goodbye" which she knocks the audience out with. 

What Lloyd fails at is capturing the essence of the storyline which captures the mental breakdown of the once famous Norma Desmond (Scherzinger) when she begins to realize that her fame as a silent film star is gone and there will be no comeback. Under Lloyd's direction  there is no feel of allegiance to the essence of the storyline. It is told fleetingly and unless you are familiar with the movie or original Broadway production you will be lost. I understand he wanted to create something original on his own terms but call it something entirely different. 

There is no set to speak of rather a black background with lots of smoke along with a huge screen that frequently has the actors' faces cast upon them. Different members of the ensemble walk around holding  cameras with lights on both sides as the actors look into them showing up in dramatic close ups on the screen. You can almost see the pores of their skin which makes for some comic moments. 

Tom Francis sings beautifully as Joe Gillis a struggling screen writer who meets with his agent Sheldrake (Tyler Davis) and his assistant Betty Schaefer (a very good Grace Hodgett Young). When they are not going to accept his script he leaves with no money and escapes from the repo guys by parking his car in Desmond's driveway. In this production unless you listen very carefully you could be lost during these scenes. So, it helps if you are not a novice to the show. Unfortunately,  Francis’s  acting is on the bland side. His relationship with Norma lacks all chemistry and even the eventual relationship with Betty falls flat. What Lloyd has decided which does not help is have the actors at various times not speaking directly to each other but out to the audience. 

Max von Mayerling (David Thaxton) also has a strong voice though as Norma's butler and former husband I was not sure if he was playing his role for laughs. His anger comes through almost in a ferociously gangster manner as you see him grimacing on the oversized screen. Thankfully, he does a tender job of "The Greatest Star of All." 

Scherzinger as mentioned has an unforgettable voice though her acting especially in the first act is frequently silly bouncing on the floor, meowing (remember she was once part of the Pussycat Dolls) and making these bizarre faces (flashed on screen) as she announces to Joe she wants to play the 16 year old Salome although she is actually 40. She does get better in the second act when she has her unfortunate breakdown. However, you should be able to see this deterioration in her. Lloyd seems not to care about this. He is more concerned about originality and have the actors in constant state of motion. One scene that makes no sense is when Norma and Joe are dancing in her house on New Year's Eve while Betty is walking through. 

The ensemble wearing street clothes is adequate enough although some of the choreography like squirming all around on their backs and stomachs (choreography by Fabian Aloise) is bizarre. 

What makes even less sense is how Lloyd has staged the title number which opens the second act. You might sit there in disbelief as it begins with Joe walking backstage passing dressing rooms passing one cardboard figure of Andrew Lloyd Webber and a mug with Jamie Lloyd Productions and as he walks downstairs to the exit of the theater you see members of the ensemble kissing. He then walks down 44th Street through Shubert Alley singing "Sunset Blvd." Did some commmitte change the name of both for the run of this show.

If you never saw the show before you might enjoy it, but if you know the story well Lloyd's dismantlement turning it more concert than theater with little understanding for the tragic plight of Norma Desmond and almost no emotional impact will be seriously disconcerting. 

PHOTOS: Marc Brenner

Tickets are available at the St. James Theater 246 West 44th Street.