WORCESTER TELEGRAM

'Sunset Boulevard' is a Delight
by Jules Becker
Worcester Telegram

Monday, January 14, 2000

Boston has been bombarded of late by mediocre musical versions of films, among them, "The Wizard of Oz," "Fame" and "Footloose." Now along comes the area premiere of "Sunset Boulevard," the Andrew Lloyd Webber musical based on what is arguably the greatest movie made about Hollywood.

If the 1995 Tony Award winner falls short of Billy Wilder's brilliant 1950 film, it nevertheless often sports the shine of heroine Norma Desmond's classic antique car and the memorable pathos of Petula Clark as the aging fictional acting legend.

Although "Phantom of the Opera" and especially "Evita," - both Lloyd Webber efforts that the Wang Theatre staging sometimes echoes - boast noticeably better scores, "Sunset" has its own distinctive look as a musical shaped by film. Not only are numbers identified as exteriors or interiors, but also the entire stage is framed in movie terms as though it is a camera "shoot" itself.

As in the film, there are sendups of a circus-like Hollywood obsessed with tried and true genres, and a film industry insensitive to the needs of screenwriters and stars alike.

Anthony Powell's vivid designs (for movie costumes and the flamboyant wardrobe) and Peter Kaczorowski's inspired lighting (for Norma's swimming pool and house) make the musical's relatively superficial plotting and uneven score seem better than they actually are.

Kathleen Mitchell disappoints with unextraordinary choreography, especially for ensembles, but Susan H. Schulman provides generally sharp direction.

In the musical, English singing star Petula Clark rarely conjures up the larger-than-life otherworldliness of Gloria Swanson in the film, Glenn Close in the PBS special, or Elaine Page in the Pops concert. Still, Clark sings sweetly, notably "Just One Look" and "As If We Never Said Goodbye."

Just as importantly, her performance does catch both the pathos of the vulnerable actress and her indomitable, if self-deluding, spirit. Lewis Cleale as Joe Gillis, the self-described hack writer and reluctant gigolo, is convincing on the anthem-resembling title number.

Allen Fitzpatrick smartly understates Desmond's protective first husband and confidant-servant Max von Mayerling. Sarah Uriarte Berry is properly cocky as Joe's loving fellow writer Betty Schaefer. Ensemble players need more to do onstage.

Clark and a sometimes magical "Sunset" warrant a closeup.