SUNset Boulevard at act of ct is musical theatre at its finest
By Kiersten Bjork (October 28, 2023)
Sunset Boulevard, the classic Tony Award-winning musical with music by theatre legend Andrew Lloyd Weber and lyrics by Don Black and Christopher Hampton, opened this weekend at ACT of CT. Directed by Daniel C. Levine, Artistic Director of ACT of CT, the production played to a full house on opening night, with each number ending with enthusiastic applause and even several standing ovations from multiple patrons.
Sunset Boulevard tells the story of Norma Desmond, a once-great star of Hollywood’s silent film industry who has since fallen out of audience favor now that “talkies” have taken over the mainstream. However, Norma refuses to acknowledge this, and is incapable of moving on – she will never surrender. Surrounded by mementoes of her career and living in the rose-colored facade of her past, she is wasting away within the clutches of her delusion, hidden beneath the glamor that she cloaks herself in. When struggling screenwriter Joe Gillis happens upon her Hollywood Boulevard mansion, a twisting plot of love, loss, desperation, and passion is set in motion as he agrees to work on the script that Norma has written. What follows is a riveting tale, and ACT of CT’s production spares no expense in bringing this elaborate and glittering world to life. With a talented cast and gorgeous scenic, costume, and lighting design, Sunset Boulevard is a marvelous display of musical theatre at its finest.
Sunset Boulevard, the classic Tony Award-winning musical with music by theatre legend Andrew Lloyd Weber and lyrics by Don Black and Christopher Hampton, opened this weekend at ACT of CT. Directed by Daniel C. Levine, Artistic Director of ACT of CT, the production played to a full house on opening night, with each number ending with enthusiastic applause and even several standing ovations from multiple patrons.
Sunset Boulevard tells the story of Norma Desmond, a once-great star of Hollywood’s silent film industry who has since fallen out of audience favor now that “talkies” have taken over the mainstream. However, Norma refuses to acknowledge this, and is incapable of moving on – she will never surrender. Surrounded by mementoes of her career and living in the rose-colored facade of her past, she is wasting away within the clutches of her delusion, hidden beneath the glamor that she cloaks herself in. When struggling screenwriter Joe Gillis happens upon her Hollywood Boulevard mansion, a twisting plot of love, loss, desperation, and passion is set in motion as he agrees to work on the script that Norma has written. What follows is a riveting tale, and ACT of CT’s production spares no expense in bringing this elaborate and glittering world to life. With a talented cast and gorgeous scenic, costume, and lighting design, Sunset Boulevard is a marvelous display of musical theatre at its finest.
Pearl Sun and the Cast of ACT of CT’s Sunset Boulevard (ACT of CT)
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Pearl Sun and the Cast of ACT of CT’s Sunset Boulevard (ACT of CT)
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Norma Desmond is brought to life brilliantly by Pearl Sun. Sun has an incredible stage presence, her vocal skill and dramatic physical choices perfectly suited for the role. She brings us into Norma’s world with the poise and grandeur of the revered movie star, yet then bares her soul as we witness the tragic turns of her life as she falls further into the delusion that she is still the public’s favorite. The vigor and determination she fills Norma with when she talks about her return to the screen is juxtaposed with the heart-wrenching sobs and pleading of Norma’s desperation. Sun portrays both sides of the character – the proud diva and the fragile actress past the prime of her career – with impressive skill, all supported by a powerful voice. Her renditions of “With One Look” and “As If We Never Said Goodbye” were wonderful, with strong audience reactions to both.
Michael Burrell plays Joe Gillis, the screenwriter who takes on the narration for much of the show. Burrell is charming in the role, showcasing superb vocal talent and acting chops. He goes above and beyond as he brings us into the arc of Joe, careful control fraying as the story progresses and he becomes increasingly entangled in Norma’s spiral. Each time we think Joe might walk away, we see him wrestle with his choice until he doubles back again, unable to leave someone in that state. Did fortune smile upon him when he stumbled upon that mansion? Or was it a cruel trick of fate? Burrell takes us on the journey with him, and we feel each choice as he makes it, all leading up to the climax of the show. It’s an all-around excellent performance from Burrell.
Michael Burrell plays Joe Gillis, the screenwriter who takes on the narration for much of the show. Burrell is charming in the role, showcasing superb vocal talent and acting chops. He goes above and beyond as he brings us into the arc of Joe, careful control fraying as the story progresses and he becomes increasingly entangled in Norma’s spiral. Each time we think Joe might walk away, we see him wrestle with his choice until he doubles back again, unable to leave someone in that state. Did fortune smile upon him when he stumbled upon that mansion? Or was it a cruel trick of fate? Burrell takes us on the journey with him, and we feel each choice as he makes it, all leading up to the climax of the show. It’s an all-around excellent performance from Burrell.
Helen J. Shen and Michael Burrell in ACT of CT’s Sunset Boulevard (ACT of CT)
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Michael Burrell and George Xavier in ACT of CT’s Sunset Boulevard (ACT of CT)
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Betty Schaefer, a young script editor at Paramount Studios who finds herself collaborating with Joe on one of his scripts, is played by Helen J. Shen. Shen gives a dynamic and nuanced performance, shining as the sharp-witted and driven Betty. Her duet with Burrell, “Too Much in Love to Care,” was absolutely stunning, and it was enjoyable to watch the two play off of each other in that number, and others.
George Xavier is rather imposing as Norma’s loyal butler Max Von Mayerling. Despite the truth of the situation, Max shelters Norma, playing into her illusion and doing all that he can to keep her from the harsh reality around her. Xavier brings a rich voice and subtle tenderness to his character. Though Max may come off as frightening to Joe at times, especially early on, supported by the stiff, tall, and intimidating presence that Xavier exudes while on stage, this aspect of Xavier’s performance allows the revelations later in the plot to be truly earned. For those unfamiliar with the plot, Max’s arc is unexpected, and Xavier does an exceptional job leading us through that journey to those final revelations.
Pragun Bhardwaj is delightful as Artie, Betty’s fiancé and one of Joe’s good friends. He clearly has fun with the role, exuding an endearing charm from start to finish. Gary Harger plays famous director Cecil B. DeMille with style and controlled bravado. He exudes the air necessary to someone of his prominence in the film world, yet also melts when he sees Norma again at the studio. Conor McGiffin is properly obnoxious as film producer Sheldrake, tossing aside Joe’s film pitches and calling after Norma’s car.
ACT of CT’s production features a stellar ensemble of talented triple threats who are featured throughout the show, including William Bishop, Claire Fossey, Jasmine Gobourne, Amanda Hunter-Finch, Val Moranto, Mac Myles, Daniel Pahl, Liz Schmitz, Emily Solo, Will Stone, Andrew Winans, and swings Victoria Madden and Matthew Marvin. The singing and dancing are top notch – sharp, clear, and clean – with tight choreography provided by Sara Brians on full display in numbers such as “Let’s Have Lunch” and “Every Movie’s a Circus,” and musical direction from Bryan Perri showcased from start to finish. The harmonies are expertly executed, and the solo work is first-rate.
George Xavier is rather imposing as Norma’s loyal butler Max Von Mayerling. Despite the truth of the situation, Max shelters Norma, playing into her illusion and doing all that he can to keep her from the harsh reality around her. Xavier brings a rich voice and subtle tenderness to his character. Though Max may come off as frightening to Joe at times, especially early on, supported by the stiff, tall, and intimidating presence that Xavier exudes while on stage, this aspect of Xavier’s performance allows the revelations later in the plot to be truly earned. For those unfamiliar with the plot, Max’s arc is unexpected, and Xavier does an exceptional job leading us through that journey to those final revelations.
Pragun Bhardwaj is delightful as Artie, Betty’s fiancé and one of Joe’s good friends. He clearly has fun with the role, exuding an endearing charm from start to finish. Gary Harger plays famous director Cecil B. DeMille with style and controlled bravado. He exudes the air necessary to someone of his prominence in the film world, yet also melts when he sees Norma again at the studio. Conor McGiffin is properly obnoxious as film producer Sheldrake, tossing aside Joe’s film pitches and calling after Norma’s car.
ACT of CT’s production features a stellar ensemble of talented triple threats who are featured throughout the show, including William Bishop, Claire Fossey, Jasmine Gobourne, Amanda Hunter-Finch, Val Moranto, Mac Myles, Daniel Pahl, Liz Schmitz, Emily Solo, Will Stone, Andrew Winans, and swings Victoria Madden and Matthew Marvin. The singing and dancing are top notch – sharp, clear, and clean – with tight choreography provided by Sara Brians on full display in numbers such as “Let’s Have Lunch” and “Every Movie’s a Circus,” and musical direction from Bryan Perri showcased from start to finish. The harmonies are expertly executed, and the solo work is first-rate.
Pearl Sun and Michael Burrell in ACT of CT’s Sunset Boulevard (ACT of CT)
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The Cast of ACT of CT’s Sunset Boulevard (ACT of CT)
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Scenic design by David Goldstein is impressive – the set itself received applause! – the most so being the set of Norma’s mansion. A grand staircase and banister sweep down into the main room of the mansion, featuring a stylish couch, chairs, side tables, and more. The home is decorated in memorabilia from Norma’s career, my favorite touch being the floor to ceiling window upstage featuring a stained glass, full-body portrait of Norma. The set decoration really goes above and beyond for this production. The mansion is removed to allow for additional locations to be featured, such as the studio lot at Paramount, the gates outside the studio, and more, with these alternate locations evoked through movable scenic pieces such as the studio gates, desks and chairs, and stair units.
Lighting designer Charlie Morrison frames the story with strategic spotlight, colorful mood lighting, and dramatic use of practical light such as the flashlight “spotlights.” One of my favorite lighting moments was the way that the car chase was done, featuring moving car headlights coming out of the projected sequence. Projection design from Daniel C. Levine blends well with the scenic, lighting, and sound choices, with the car chase particularly well done in the projection department as well. Camilla Tassi is credited as projection consultant for the production.
Costumes and wigs by designer Kurt Alger are stunning! Each time Norma entered, I was dazzled more and more by the colors, the furs, and the fabrics. The elaborate costumes are necessary for a story like this, set within the world of movies and glamorous stars, and Alger’s work certainly does not disappoint. The costumes for the filming of Samson and Delilah are also particularly commendable. That final costume for Norma, accented by exceptional makeup design from Angelina Avallone, is a personal favorite.
Sound designer Marisa J. Barnes finds a good balance between the cast of twenty and the wonderful eleven-piece live orchestra. The effects throughout the production, from car doors and squealing tires to splashes and gunshots, are incorporated smoothly and seamlessly. There were a few minor moments of feedback, but I’m sure they will be worked out as performances continue.
Lighting designer Charlie Morrison frames the story with strategic spotlight, colorful mood lighting, and dramatic use of practical light such as the flashlight “spotlights.” One of my favorite lighting moments was the way that the car chase was done, featuring moving car headlights coming out of the projected sequence. Projection design from Daniel C. Levine blends well with the scenic, lighting, and sound choices, with the car chase particularly well done in the projection department as well. Camilla Tassi is credited as projection consultant for the production.
Costumes and wigs by designer Kurt Alger are stunning! Each time Norma entered, I was dazzled more and more by the colors, the furs, and the fabrics. The elaborate costumes are necessary for a story like this, set within the world of movies and glamorous stars, and Alger’s work certainly does not disappoint. The costumes for the filming of Samson and Delilah are also particularly commendable. That final costume for Norma, accented by exceptional makeup design from Angelina Avallone, is a personal favorite.
Sound designer Marisa J. Barnes finds a good balance between the cast of twenty and the wonderful eleven-piece live orchestra. The effects throughout the production, from car doors and squealing tires to splashes and gunshots, are incorporated smoothly and seamlessly. There were a few minor moments of feedback, but I’m sure they will be worked out as performances continue.
Pearl Sun and the Cast of ACT of CT’s Sunset Boulevard (ACT of CT)
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Gary Harger, Pearl Sun and the Cast of ACT of CT’s Sunset Boulevard (ACT of CT)
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Sunset Boulevard at ACT of CT is a tale of romance, tragedy, obsession, and passion, all set to a Tony Award-winning score that sweeps you off your feet from the moment the overture begins. The production features a beautiful design on all fronts, a powerful slate of leads, and a superb supporting ensemble. You won’t want to miss this one – I highly recommend taking the time to catch Sunset Boulevard at ACT of CT before it closes on November 19.
Sunset Boulevard runs October 26-November 19 at ACT of CT in Ridgefield, CT. Curtain times are Thursday at 7pm, Friday at 8pm, Saturday at 2pm & 8pm, Sunday at 2pm, with additional performances on Sunday, November 5 at 7pm, and Friday, November 10 at 2pm. The production has a runtime of 2 hours and 30 minutes, including one 15-minute intermission. Tickets are available through the Box Office (475.215.5497), or online at actofct.org/sunset-boulevard. Please note that the production is recommended for ages 13 and up, and includes the use of theatrical haze and gunshots.
Kiersten Bjork is a theatremaker and reviewer (Connecticut Critics Circle) from Branford, CT.
Sunset Boulevard runs October 26-November 19 at ACT of CT in Ridgefield, CT. Curtain times are Thursday at 7pm, Friday at 8pm, Saturday at 2pm & 8pm, Sunday at 2pm, with additional performances on Sunday, November 5 at 7pm, and Friday, November 10 at 2pm. The production has a runtime of 2 hours and 30 minutes, including one 15-minute intermission. Tickets are available through the Box Office (475.215.5497), or online at actofct.org/sunset-boulevard. Please note that the production is recommended for ages 13 and up, and includes the use of theatrical haze and gunshots.
Kiersten Bjork is a theatremaker and reviewer (Connecticut Critics Circle) from Branford, CT.