Sunset Boulevard

Every once in a while, a show lands a theatre that suits it perfectly. Wicked and Lion King can fill big barns like the Gershwin and Minskoff, Next to Normal was right at home in the intimate Booth, and then there is the revival of Sunset Boulevard, which I cannot imagine anywhere but the historic and grandiose Palace. The ghost of Judy Garland must be very much at home in this morose, reflective production.

As a Broadway fanatic, I am embarrassed to say I didn't have much knowledge of Sunset Boulevard other than the casting drama involving Patti LuPone. Glenn Close certainly has a commanding presence as the tragic Norma Desmond. Her voice is not first rate, though the vocal impurities add to the sadness of the aging diva who is cracking before our very eyes. That being said, I don't see anything singular about Glenn Close's permanence that wouldn't have been conveyed by any other film actress of a certain age. Jessica Lange comes to mind as another woman who could fill Demond's pumps. Lady Gaga is someone I could see playing the role in future revivals, but that is a conversation for another day.

Sir Andrew Lloyd Webber's scores are known for recognizable numbers that become hits, such as Music of the Night, I Don't Know How to Love Him, Memory, and Don't Cry for Me Argentina. Sunset has two such numbers in with One Look and As If We Never Said Goodbye. Both are show stoppers, and though Close doesn't sing "Goodbye" like Patti did, she acts the heck out of it. Unfortunately the rest of the score is largely forgettable.

The full orchestra onstage is one of the highlights of this production as it harkens back to the old MGM films of the golden age. This production features a few interesting technical elements, such as the interesting construction of Norma's car using actors and lights, and extremely ornate costumes that queens will die for.

The Patti fan in me loves to hate Glenn Close's singing, but you cannot deny her extraordinary range as an actress. The finesse and nuance in the final scene is a thing of beauty. After Norma kills Joe in a jealous rage, we have every reason to loathe her, but we don't. We cry for her when she shouts her famous line "Mr. DeMille, I'm ready for my close-up." This once powerful woman has been so undone by the pressures of Hollywood that she has tricked herself into believing that the present is not real. In the hands of a less capable actress, the scene would be pathetic, but the greats like Close (and LuPone) have you so cleverly nestled in the palm of their hand that you fall for their every move. 

When Those Neon Lights Go Dark On Broadway

I've been thinking a lot about Broadway closings recently, especially because of the nature of last week's poll. And then, to my surprise, four big Broadway musicals have announced their closing dates, or at least announcements are expected to come shortly. It was announced several weeks ago that Fela! will shutter on January 2, 2011 and although it is yet to be confirmed, many speculate that Promises, Promises and Next to Normal will also close on that same date. Then yesterday, the producers of West Side Story announced that they too will close on  January 2nd. With new shows anxiously awaiting these open theatres, one always has to wonder if there isn't some persuasion, on the part of producers of upcoming musicals, for struggling shows to cut their losses and close. I guess nobody every really knows what exactly causes a show to close its doors and each of these shows has enjoyed an arguably strong run on the Great White Way.

Fela! and Promises, Promises are some of the first to close of the 2009-2010 TONY season, but one might argue that Fela! never truly found its audience and Promises, Promises would not be able to stay afloat once the contracts of its big stars, Kristin Chenoweth and Sean Hayes, expire. Next to Normal was the 2008-2009 season's little show that could. Many never expected it to make it further that Second Stage where it ran off-Broadway, but it defied the naysayers, winning several TONY awards, garnering a cult following, and running for close to two years. West Side Story....well that is another story. I'm sure that Arthur Laurents expected his baby to win the Best Revival of a Musical TONY in 2009, but it lost to Hair (which closed about 3 months ago) and didn't receive the buzz that was anticipated. Perhaps it was the addition of Spanish lyrics, or the the fact that the creative team chose not to use Jerome Robbins' iconic choreography, but either way, the production lacked sparkle. Now a run of a year and a half is certainly nothing to scoff at, but this West Side Story revival was never the critical darling it was expected to be.

Of course we are sad to see these wonderful shows close, but such is the life cycle of the business of show. To quote the great Stephen Sondheim, "everyday a little death," but then again, "everything's coming up roses." When one show closes, that means a new show can open, and the 2010-2011 Broadway season is highly anticipated. It was publicly announced yesterday that one of the season's big budget musicals, Priscilla Queen of the Dessert, will take the Palace Theatre, currently inhabited by West Side Story. Many anticipate that the British transfer Sister Act will move into the Broadway Theatre once Promises, Promises closes and others speculate that the new musical Catch Me If You Can will take the Eugene O'Neill from Fela! And as for the Booth, one of Broadway's smallest houses, we can only hope that its next resident touches the Broadway community as deeply as Next to Normal did.