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BBC BIRMINGHAM
Sunset Boulevard:
Theatre Review
by Andy Knowles
Rarely does one individual performance supersede the overall production in a major
musical, but there's always an exception - and this is it. For this is very definitely
Faith Brown's show.
Sunset Boulevard may not be blessed with the most recognisable of Lloyd-Webber music, or
be the most striking show in memory, but I defy anyone not to leave in total awe of Ms
Brown's towering performance.
The comedienne-impressionist-actress-singer commands the stage with a presence etched with
emotion, expression and electricity. For fully two and half hours she IS Norma Desmond,
the sadly-deluded former silent movie star teetering on the brink of insanity, but still
convinced she can - and will - return. ("I am still big - it's just the movies that
are small.")
Ms Brown strikes the perfect balance of arrogance, vulnerability and wretchedness,
bringing as much spell-binding intensity to the role as Gloria Swanson did in the original
1950s cult film. She also pours herself into the melodramatic delivery of the songs, in
particular the show's two biggest- and most memorable - numbers, the spine-tingling
"With One Look" and the much more emotional, but equally intense "As If We
Never Said Goodbye." It is, quite simply, her finest-ever impression.
As for the show itself, it's not one of Lloyd Webber's best. If you like the colourful,
all-singing, all-dancing type of musical, then Sunset Boulevard is not for you. This
semi-operatic adaptation of Billy Wilder's black and white film classic is a dark and
foreboding affair in which the ensemble play a peripheral supporting role.
The production is grand and polished, Ms Brown's gowns are many and splendid while the
sets are both opulent and ghostly. The ornate guilded staircase and black and gold
festooned drapes create a cobweb effect adorning Ms Desmond's home (10086 Sunset
Boulevard) - a shrine to her lost career. It's all a stark contrast to the airiness and
bright spotlights of the old Hollywood studio sets which intermingle the plot.
Director Robert Carson's use of cinematic projection is also clever and effective. None
more so than at the end when Ms Desmond's famous words "and now Mr DeMille, I'm ready
for my close up" are taken so literally - and scarily!
Jeremy Finch makes an admirable Joe Gillis, the hard-up young writer who finds himself
unwittingly ensnared by Norma to rewrite the play which she believes can - and will -
return her to her former screen glory. Blessed with a toothy smile, and a strong, pleasant
singing voice his role which doubles as narrator and likeable toy-boy demands great
stamina since he's barely off the stage throughout.
Tenor Michael Bauer is perfectly cast as Max, Ms Desmond's faithful and sycophantic butler
with a secret past. Blessed with a voice as rich and thick as treacle, he uses it to
powerful effect, particularly in his moving and tender rendition of "The Greatest
Star of All." He's referring, of course, to Norma; it could also have been a song
dedicated to this production's very own star performer. Ms Brown take a bow.
BIRMINGHAM EVENING MAIL
Sunset: Reviewed
By Fred Norris
No Sunset this for Faith Brown That's for sure. Whatever else may be said about the
show, for her this is a magnificent sunrise on an entirely new phase in her career. For
her then a night of remarkable triumph. But the show itself?
Let's just say the jury is still out on that. This is not an automatic blockbuster. It is
based on the Billy Wilder film of 1949 and he must be spiralling in his grave. Gone is the
depth of passion, the torment, the tragedy.
Like Lloyd Webber's music, it is all dished out so thinly. The show lacks a big fat
sensuous ballad and - to liven those feeble production numbers - a big swimming brass
blast with the girls kicking their legs.
Faith takes on the role created so unforgettably by Gloria Swanson. She spends most of her
time stepping up and down an ornate Hollywood staircase. But every step symbolises two
steps up on this new career for her. This is the show where Faith makes her biggest
impression.
WORCESTER EVENING NEWS
Norma Desmond has graced Birmingham.
By Annie Dendy
A stunning performance by Faith Brown held a full house enthralled by her debut in the
city in this demanding role.
Faith - known for her comedy roles rather then her musical talent - assumes the mantle of
obsessive love with frightening intensity. At one moment imperious and wounding, at the
next broken and distraught.
Her singing is bold and emotional and her movement stylish and elegant. Faith's smile said
it all. She had Norma in the palm of her hand. A wonderful production.