If fate smiles upon you and grants you a precious ticket to witness Nicole Scherzinger's breathtaking portrayal in the Broadway revival of Sunset Boulevard, prepare to lace up your most comfortable shoes. This Grammy-nominated artist delivers a performance that is nothing short of chilling, one that defines her career, commanding attention with a seductive grace and magnificence that prompts multiple standing ovations mid-show – an astonishing feat, exemplified by a six-minute standing ovation on the official opening night, October 20th, at the esteemed St. James Theatre in the heart of New York City.
It's a sight to behold, a long-awaited triumph for fans of the former Pussycat Dolls frontwoman. After years of honing her craft in the music industry and navigating challenges as a solo artist in the United States, Scherzinger has finally arrived at her rightful place under the spotlight, making her mark on Broadway.
As she croons the line "I've come home at last" from "As If We Never Said Goodbye," her lingering emphasis on "home" echoes like a triumphant declaration, as if she's reminding the world that the stage has always been her true domain.
Yet, Scherzinger's portrayal of the faded silent film star, Norma Desmond, in Sunset Boulevard (stylized as Sunset Blvd. for this production) promises far more than just accolades. Already a recipient of the Olivier Award for her stint in London's West End, this X-Factor and Masked Singer judge stands poised to add a Tony Award to her shelf, with many considering her a formidable contender for the prestigious prize.
Scherzinger's voice soars, each note filled with power and emotion, while she imbues Norma Desmond with layers of complexity previously unseen. Charismatic, humorous, sensual, intelligent, dramatic, scheming, and, at times, monstrous – all these facets coalesce into a character that captivates hearts, even as her actions veer towards the unsavory.
In essence, Nicole Scherzinger's Norma Desmond is a force to be reckoned with, one who could effortlessly fit into the ranks of Beverly Hills' fictional elite as a star of her own reality show. This is a performance not to be missed, a triumph of artistry and passion that redefines the boundaries of theatrical excellence.
The stage adaptation of Billy Wilder's iconic 1950 Oscar-winning film, intricately woven by the deft hands of bookwriters and lyricists Don Black and Christopher Hampton, transports us to the world of Desmond, a former Hollywood glamour who recruits the youthful screenwriter Joe Gillis (portrayed with charm by Tom Francis) to reignite her silver screen reign, amidst whispers of ageism in the industry. Yet, as Gillis' bond with the vibrant Betty Schaefer (brilliantly essayed by Grace Hodgett Young) blossoms, Desmond's paranoia seeps in, threatening to unravel all.
Even her steadfast butler, Max von Mayerling (the inimitable David Thaxton, at his thespian best), finds himself powerless to halt Desmond's desperate machinations. For those familiar with the previous iterations of Sunset Boulevard, Lloyd's daring reinterpretation breathes fresh life into the narrative, recasting it through the lens of the 21st century. The production, a testament to technical brilliance, captivates with its unabashed audacity, defying the gaze to wander.
The stage, barren yet exquisite under Soutra Gilmour's deft design, is bathed in a monochrome palette that starkly contrasts with the crimson gush that stains Desmond's visage in the gripping finale. A towering black screen, slightly askew, forms the backdrop's anchor, where live footage, captured artfully by steadicams onstage, broadcasts to the audience, offering unprecedented perspectives on each performance.
Nathan Amzi and Joe Ransom's visionary video design and cinematography elevate the experience, allowing for profound reflections on the show's themes. The seamless transitions between close-ups of Scherzinger and Hannah Yun Chamberlain (who embodies Young Norma) as Desmond grapples with the specter of lost youth, are particularly poignant. Adding a cinematic flair, the opening title sequence and closing credits underscore the tale's fascination with the glamor and illusion of Hollywood, creating a spectacle worthy of the silver screen itself.
The cameras add a meticulous layer of meta to the production, enhancing its intricacy. Act II elegantly unfolds with the camera's gaze fixated on Francis, a captivating figure in his own right, as he effortlessly navigates the labyrinthine backstage corridors of the theater. These halls are adorned with modern-day nods to the Pussycat Dolls and a whimsical cardboard silhouette of Webber, lending a playful touch to the scenery.
As Francis strolls down 44th Street, serenading the audience with the musical's eponymous tune, the camera becomes his steadfast companion, capturing every stride. His journey takes him through the vibrant heart of Times Square, particularly the renowned Shubert Alley, where neon lights and bustling crowds serve as a vibrant backdrop to his performance. Finally, he triumphantly returns to the stage, the melody still resonating in the air.
Throughout this sequence, Francis remains unfazed, his composure a testament to the familiarity he's cultivated through his previous London run, where he flawlessly embodied this very role. On Sunday night, his unwavering dedication was met with thunderous applause, a standing ovation among the four accolades showered upon the show. Yet, this steadfastness mirrors the reserved intensity Gillis embodies, narrating the tale as he dramatically emerges from a body bag, center stage, setting the tone for an enthralling performance.
