from Masquerade Magazine

Despite the regular snow flurries, it was apparently Spring. While that news may have enjoyed various connotations for others, for me it meant simply the arrival of the revamped Sunset Boulevard and an overdue trip to the Metropolis. Heading back along the Strand to the Adelphi, now resplendent with the film noir poster, to greet the second first night (how many shows can boast such an event!?) I felt mildly disloyal to the memory of Miss LuPone. But then again as someone once remarked, the show must go on.

So what of the much heralded changes? Well you don't have long to wait for evidence of the tinkering that has gone on as the "Let's have Lunch" sequence has a sharper and more succinct feel, and incorporates a segment between Joe and Betty that debuts "Every Movie's a Circus", a song that is fully developed in the Schwab's Drugstore scene wisely leading to the deletion of the corny 'Is this a Western" lyrical passage. "The Perfect Year has also undergone changes with "Auld Lang Syne" being celebrated at Artie's party, rather than back at the mansion, with the first act closing with Joe embracing Norma rather than carrying her up the staircase. There has also been some gentle tampering with Act two, with "Surrender" being used more liberally and sounding especially enchanting when entrusted to Max. Those who saw the Omnibus special on L.A. will know that the final scene sees Norma descending the staircase, now decorated in more subdued colours including a glitzy head-dress rather than the much criticised wig. The overall effect of the numerous, although often subtle, changes is to tighter show that all but eliminates the lyrical limpness that occasionally blighted the original.

The personnel changes have proved equally effective. Australian Anita Louise Combe brings more colour and warmth to the part of Betty while Michael Bauer, stepping up from the bit part of Cecil B. DeMille, is quite superb as Max, inflecting the part to introduce a vulnerability and sense of humanity previously missing. John Barrowman is just terrific. His boyish good looks, quality singing voice and powerful acting style combine to produce a Joe Gillis that betters Kevin Anderson's not inconsiderable efforts. Any criticism of an inadequate age difference between the central characters has certainly been put to rest with the arrival of Barrowman.

Now is that everyone? Oh no - there is a certain Betty Buckley. Following Patti in circumstances which saw that lady enjoying massive public sympathy and support was far from an easy task and I felt myself holding my breath as she slowly descended the staircase for the first time in full public view. But I needn't have worried - this lady is a true trouper and she carried off the role with real style. The massive outpouring from the audience that hailed her marvellous "With One Look" set the mood for the evening. She may not have quite grasped the all facets of the multi layered part but for a first night performance it was remarkable. In a matter of weeks she is going to be sensational.

Anyone acquainted with her "Children Will Listen" album will know that Betty is a glorious singer and despite a different vocal styling from her predecessor, she matches the power and resonance that sections of the score demand. "With One Look", "New Way to Dream" and "The Perfect Year" were all splendid but it was with "As If We Never Said Goodbye" that she truly shone, treating each verse of that complex and affecting work with a different emphasis and emotion. Purring one minute, roaring the next. Strutting out with the pleasure of her return, shaking with trepidation at its consequences. It was the masterful performance we should have expected from a lady of her talent and acting track record. The Queen is dead; long live the Queen.

The first night audience certainly had no doubts about Betty, providing a spontaneous and prolonged standing ovation. It must have delighted the little group who earlier had gathered like a cluster of fathers-to-be waiting to see how their new baby would turn out. Don Black, Christopher Hampton, Trevor Nunn and Sir Andy (who ended up, thanks to my end of row seat, on my left shoulder during the curtain calls - right, who said, name dropper?) were there for all to ogle. By the end it was undoubtedly a case of cigars all round.

So now that all the dust has settled it is time to address the question "was closing the show for a revamp worthwhile?". I am the wrong person to ask as I thought the show in its original form was wonderful and I think Sunset II is, well, wonderful. But Really Useful didn't re-vamp the show for my benefit - well, I don't think they did - and their efforts were rewarded when the critics who almost universally held up 5.9 boards in unison. Now if I was a cynic then I might suggest that the critics' benevolence was largely due to an air of self satisfaction that their original lukewarm response forced ALW to take drastic measures, coupled with the opportunity to wallow in a second Savoy party. But as I am obviously not cynically inclined then I will conclude that the show has been substantially improved and the hacks are merely reporting the facts, ma'am. I can only hope that the reception that has greeted this incarnation will engender the public enthusiasm necessary to keep a marvellous piece of theatre afloat.

Unofficial Review of Sunset Boulevard

by Alex

Andrew Lloyd Webber was wise - very wise - to close the London production in 1994, and bring it up to the same standard as Broadway. The show was now tighter, musically superior, and so much realer! I went to the production for the first time expecting a little, and I came out amazed. Entranced. In love.

The first time you see Sunset is not the best - that's the second - but the first time you tend to be so overwhelmed that you ignore annoying details, and just let the experience wash over you. My first grudge against the London production is that it was staged in the wrong theatre. Sunset needed a purpose-built - there, I've said it - theatre. The Adelphi is just to small and claustrophobic to stage a mega-musical in. In my opinion, Sunset would still be running now if they built that theatret. It needs to stand out - a landmark, as Les Mis has become. People need to be able to see it as they walk nearby. Sunset needed a huge foyer, the Sunset Blvd. logo projected on the wall, alongside the shadows of fluttering palms - a circular foyer, with staircases curling up one side of the circle and meeting high up where the logo shines. Mad, you say - but Sunset was never staged in the style of a mega-musical. Sure, the set, music, lighting, acting and singing, for god's sake, was up to standard; but the whole experience needed tailoring.

The London production was stuffy. The Adelphi has a very tall and deep, yet narrow stage, and it needed to be wider. It needed more glitz, and glamour. It never was given the start that Broadway was - by Glenn Close. The acoustics of the theatre are acceptable, yet it tends to soak up the sound. Sunset needed to be sexier.

I'm being picky, of course; the musical was fabulous, but to ensure its longevity, it needed to be' BIGGER! And BRIGHTER than we knew it!' More sequined dresses on the audience, please. Perhaps you disagree - maybe Sunset is too sensitive and serious for all that - but I am sure it would be playing to packed houses now if it had been as I describe.