 |
|||
|
THE EDINBURGH EVENING NEWS
Keeping Faith with Sunset
Boulevard
by Andrea Mullaney
Norma
Desmond is still big – it’s the star who got small. That might have been the
initial reaction to hearing that the latest diva to take on one of the most coveted female
roles in showbiz, the fascinating monster at the heart of Andrew Lloyd Webber’s
musical Sunset Boulevard, is a light entertainment performer previously best known for
doing impressions of Margaret Thatcher.
But, in the latest twist to the convoluted Sunset saga, which has been almost as dramatic
as the show itself, comedienne Faith Brown is currently doing a rather good impression of
someone pulling off an unlikely triumph.
As the glossy new version of the hit musical makes its first journey to Edinburgh this
week, trailing hype and good reviews from tryouts down south, the word is that, strange as
it seems, Brown not only pulls off the role, but makes it her own.
Lord Lloyd Webber, apparently, was moved to tears – in a good way – by her
performance, while co-star Michael Bauer, who’s been involved with the show since the
start, declares that Brown is the best Norma so far.
Edinburgh audiences will be able to judge for themselves, as the five-week run at the
Playhouse officially starts the show’s first ever national tour.
Fresh from a photo session where she heroically refrains from parodying Norma’s
famous line – “I’m ready for my close-up, Mr De Mille” – the
effervescent Brown can hardly contain her enthusiasm.
“A lot of time and energy has been spent casting everyone for this – oh God,
yes. Andrew told me himself that he was inundated with people from all over the country
saying ‘why can’t we have Sunset Boulevard, they always have the best shows in
the West End, why don’t you tour a proper West End production?’ – and that
is exactly what this is.
“It’s costing millions, this production, it really is. Thirty grand went just on
my costumes. We’ve got the best technicians, the best musicians, the choreography is
by the guy who did Billy Elliott, it’s brilliant. Tell people they mustn’t miss
it!” she insists, with just a touch of Norma’s grand manner. A well-preserved
57, Brown looks little changed from her Eighties heyday, when she appeared regularly on TV
as the then Prime Minister.
But, like the faded silent movie star she plays in Sunset, times changed. Rory Bremner was
better placed to ‘do’ John Major and a new generation of alternative comedians
replaced her on the screen. While Norma retreated to her dusty mansion after her star
faded, Faith carried on performing in clubs and variety theatres. But both dreamed of a
comeback.
Explains Brown: “I wanted this part so desperately. I prayed that I’d get it.
Because, you know, people say ‘oh, Faith Brown – comedienne from the TV,
impressionist doing Margaret Thatcher, big-boobed, bubbly Faith’ – all that
rubbish – and I’ve always wanted to show people the other side of Faith. Thank
God now I’ve got the chance to do it – pardon the pun, but Andrew had faith in
me.
SHE adds: “When I first sang for him, I’d already had two callbacks. He flew
from Paris, I didn’t know he was coming. I was so nervous when they told me. I sang
With One Look – I didn’t know it was his favourite song, this is his favourite
musical, actually – and when I sang it he had his head in his hands and I thought:
‘Oh God, he hates it!’ I really didn’t want to continue.
“But it wasn’t that. He actually cried. And the musical director said he’d
never seen Andrew do that before. When I’d finished the two songs, he said ‘when
can you start?’ – he’s never done that before, either. Isn’t that
wonderful? I was so excited! And a lot of heavy-duty actresses went for this, you
know.”
It’s not surprising that Lloyd Webber got emotional, since finding the right Norma
has plagued him since he first had the idea of adapting Billy Wilder’s 1950 triple
Oscar-winning masterpiece, starring Gloria Swanson and William Holder as her young lover,
for the stage.
Michael Bauer, who plays Norma’s faithful factotum Max in this production, was
involved right from the first night – in fact, even before.
“I did the preview – Andrew’s got a disused chapel on his estate and
he’s converted it to a 200-seater theatre where he’s tried every one of his
musicals out before they go into production,” explains the deep-voiced actor,
who’s just come from the London run of Phantom of the Opera.
“And I remember when we were doing that workshop thinking ‘when they get it
sorted out, this is going to be really something’.”
It took a while, though. When the show opened in 1993, with Patti Lu Pone in the lead
(Bauer then played Cecil B De Mille, whom Norma attempts to charm into giving her a
comeback role), reviews were scathing. Sunset was whipped off for nine months of rewrites,
but returned to greater acclaim with Betty Buckley now in the title role.
But then the tantrums began – Lu Pone sued when Lloyd Webber backed out of a deal to
let her take the role to Broadway, winning a million dollar settlement. Instead, he chose
Glenn Close, who had had huge success in the show’s first American production in Los
Angeles.
But then Faye Dunaway, booked to take over from Close in LA, was sensationally sacked by
the composer after he heard a rehearsal. He said her voice wasn’t up to it, she said
he was “capricious” and another lawsuit ensued. Though subsequent productions
proved less troublesome and the Broadway version won seven Tony awards, Sunset had already
gained a reputation for turning its leading ladies into real-life versions of the
demanding, mercurial central character.
“It’s very dear to Andrew, it caused him a lot of pain – a lot of money, as
well.
“They almost shot themselves in the foot in that Norma had to be a name, a star,
because it’s that sort of role. She is the greatest star, you know,” says
Michael Bauer, delicately, echoing his big number in the show, The Greatest Star Of All.
“Certainly, my relationship with Faith has been terrific, on and off stage. I think
she is pretty well the best. I’m not just saying that because we’re doing
this.”
But Brown isn’t worried that playing Norma every night will start to seep into her
own personality – even though she declares: “Once I’m preparing myself up
in the wings, I AM Norma Desmond.” She adds: “I was warned that what I must do
is leave Norma Desmond in the dressing room because there have been cases where – not
mentioning any names – people haven’t left her there.
“Underneath all that charm, she’s very manipulative, but underneath that again,
she’s vulnerable also. You could easily go over the top and camp it up, that’s
what I definitely didn’t want to do. I wanted it to be realistic and from the heart.
And it is – I cry real tears. I’m getting bags under my eyes from the
tears.”
Of course, Brown has experience playing formidable ladies with steely ambition – does
she see any resemblance between Norma and her most famous impression?
“Oh! I’ll tell you a true story,” she laughs. “Andrew told me that he
invited Margaret Thatcher to see Sunset because she was a great fan. And when he took her
out to dinner afterwards, she said: ‘Do you know, I could BE Norma
Desmond’.”
Almost spookily, Brown’s face abruptly changes into the familiar pattern as she drops
into the old drawling impression. “I thought that was so sweet!” Eek. Maybe Mrs
T was Lloyd Webber’s ultimate leading lady after all.
Sunset Boulevard, The Playhouse, Greenside Place, Wednesday December 12-January 12,
£8.50-£28.50, 0870-606 3424
Thursday, 6th December 2001
Picture: KEVIN LOW
Faith Makes A Big Impression In A Dazzling Sunset
by Kenneth Speirs
The twilight world of a forgotten silent movie actress is the background to Lloyd Webber's
musical take on Billy Wilder's acclaimed film. Now we have this latest incarnation of what
is surely one of the composer's best shows - and it is a scorcher.
TV impressionist Faith Brown dominates with her fascinating performance as Norma Desmond -
a femme fatale oif the big screen who refuses to fade into the sunset.
Brown's tall frame, her expressive hands and her mobile face all make for an electric
stage presence and with a voice that is deep and dusky at times and controlled but
powerful in the upper register, she gives us Norma Desmond - Diva!
The production rightly picks on the exaggerated aspects of
silent film and serves up a show that is part melodrama - part gothic horror. Every time
la Desmond walked down her gilded staircase wearing a stunning gown, she did so as if
carrying a gun loaded with her fragile Hollywood psyche. She was all emotion, all demands,
all ego. She was a walking production of her own and Ms Brown made her mesmerising.
Sunset is all the more powerful for its restraint and eschewal of the cheap tunes that
have blighted other shows of Lloyd Webber. There are only two show stoppers in the entire
piece - but they are real high points and both go to Norma of course.
The superb 'With One Look' in which she demonstrates the silent movie star's ability to
convey emotions through the face is a fine statement of the power of art. It is also a
great tune. Brown's interpretation is a great thrill.
In the much more emotional 'As If We Never Said Goodbye', we see Desmond go back to
Paramount for what she thinks will be her triumphant return to the studio where she made
her name. With the spotlight on her, she is epitome of the screen goddess - growing in
stature every moment as she regains her nerve and star quality. It was impossible to take
one's off her in what was the most powerful and touching part of the show.
Just as impressive was the supporting cast that sang, danced and acted with 100 per cent
commitment.
Here we have a show that carries you along on song but never fails on the level of drama.
It is brilliant to look at. The sets are a marvel of design and a sheer transformational
wonder.
This Sunset is being toured by Lloyd Webber's own Really Useful Theatre Company. It has
the stamp of authority and authenticity. So for an alternative to panto - go for Hollywood
melodrama - with tunes and a knock 'em dead performance. This is entertainment on a grand
scale.
Sunset Shines Through Clouds
Sunset is a classic film noir - could it ever be successfully transformed into a stage
musical? If anyone could do it then it would be Andrew Lloyd Webber. After all he's done
it for Christ, Evita, Joseph and Jeeves. So why not for Joe Gillis - a down on his luck
Hollywood sciptwriter who falls into Norma's lap at just the right moment. Webber almost
pulls it off. A bit less sacharine in his music and he would have succeeded.
It's not just a matter of taste but the reflection on the way in which Billy Wilder -
original screen director - took a mundane story and used the magic of cinema to turn it
into something otherworldy.
This tour production gets pretty close to succeeding as well. Earl Carpenter is more than
userful in the role as narrator Joe Gillis - he is a likeable singer who has that casual
air about him which works just as well when pushing the plot or taking part in the action.
And casually dispassionate is what Joe is all about. He has been made heartless by his
failure as a scriptwriter. When Norma Desmond offers him
the chance to rewrite her dreadful script of Salome, he takes it like a shot. But it is
not Joe who is the star. That job falls to Norma.
From the minute she first descends the staircase, through every single tantrum,
insensitive remark and self obsessed decision, it must be true that the stars have not got
bigger - the pictures have got smaller.
The problem for this production is that Faith Brown - star though she is - is simply not
enough of an arrogant stuck-up bitch to live the part of Norma with real conviction. She
has the look alright. And her greatest asset is a pair of huge and strangely elegant
hands. There are times in the production where she makes them glide about her in a way
that forces the whole focus down to the small space they inhabit.
The show also has some excellent touches - Michael Bauer is superb and Ceri Ann Gregory
does well. But Faith is not ready yet for her close-up.