Based on the classic Billy Wilder Oscar-winning movie, Andrew Lloyd Webber’s Sunset Boulevard is the story of Norma Desmond, a once great silent movie star now half-forgotten in the glamorous 1950s Hollywood.

Joe Gillis – a handsome young scriptwriter on the run from a couple of loan sharks – stumbles upon Norma and her spooky servant Max in an eerie mansion on Sunset Blvd. Norma, asks him to stay and help work on her comeback script. However as time passes, Norma’s infatuation with Joe becomes more dangerous and desperate and Joe becomes increasingly trapped in Norma’s strange world of delusion and grandeur. 

So there’s the premise and the most enjoyable thing in this musical is the fact that it is based around an interesting story and through music manages to show all the twists, turns and sudden happenings of this complex plot…very un-musical like! It even has a curious ending, which will leave you guessing, but on your feet applauding. 

In fact the musical is more of a light opera as such…I’m rather sure that not a single line was said but please don’t let that put you off. The music at the beginning may seem strange and off putting but the more this show moves the more engrossed you get, the more the music grows on you and the more you realise how haunting it is totally reflecting the time, era, and mood.

This is a masterpiece of musical theatre; it shows why it won copious amounts of awards. The music is truly spectacular in this very unusual and intriguing evening’s entertainment. 50s Hollywood is wonderfully created through the use of beautiful sets, simple yet effective lighting, realistic props, and a plethora of costumes and wigs. Sunset Blvd manages to use the depth of the Hippodrome’s vast stage effortlessly and it benefits from it. 

Once again as with Singing In The Rain a few weeks ago video projection is used, but sparingly thus adding to its effect on the audience. The enormous grandeur of Norma’s house and that amazing staircase is also reflected through the use of other sets using a small amount of the stage, a clever device!

Certain numbers stand out during the show such as “Sunset Boulevard”, “The Perfect Year” and the show stopping “As If We Never Said Goodbye” performed to rapturous applause by Faith Brown as Norma.

 Her utterly convincing portal of this difficult character contains just the right amount of melodrama and craziness to make the audience be sure she is the person, not just playing a role. The eccentric, insecure and somewhat psychotic character progressively breaks down throughout and Faith never falters to deliver an award worthy performance.

 Michael Bauer’s performance as Max shows true performers versatility in singing, but Jeremy Finch as Joe the main man, so to speak, who talks to the audience as a narrator delivers without question one incomparable performance. His style, singing and presence are that I have never seen of an actor before. Truly magnificent.

 The compelling story and lingering score which features lyrics of unimaginably fulfilled potential make this a real theatregoers summer treat. A midsummer’s night dream some who use-annoying puns in their reviews might say!

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