![](https://www.sardinesmagazine.co.uk/wp-content/uploads/2024/03/FB_IMG_1710859930045.jpg)
Show: Sunset Boulevard
Society: Sheffield Theatres
Venue: Lyceum Theatre. 55 Norfolk St, Sheffield City Centre, Sheffield S1 1DA
Credits: Music by Andrew Lloyd Webber, Lyrics by Don Black and Christopher Hampton, based on a film by Billy Wilder. Performed by CROFT HOUSE THEATRE COMPANY
Type: Sardines
Author: Joanne Thornewell
Performance Date: 19/03/2024
Sunset Boulevard
Joanne Thornewell | 21 Mar 2024 18:54pm
Photo: Steve Braithwaite
Sunset Boulevard is an iconic film fashioned into an iconic musical with some of Andrew Lloyd Webber’s best-loved songs. The story centres on Norma Desmond who used to be a famous silent movie star. She lives with her butler Max in her mansion on Sunset Boulevard. Both she and her house are shadows of their former glory. She longs to return to her halcyon days but is now a recluse. Enter young screenwriter Joe Gillis who sees making a new film with Norma as his big break. The two characters use each other to achieve their desires, but it ends in inevitable tragedy.
The part of Norma Desmond has been played by so many great actors – Glenn Close, Petula Clark, Patti Lupone, Elaine Paige – each of them had their own superstar persona to draw on. It is a very brave amateur performer who takes on this role. Mary Kingsnorth has the perfect physicality for Norma and really looks the part. She fully convinces as the brittle, unstable former megastar still living in the past and on this opening night’s performance, she got stronger and stronger as the show progressed. Her singing is a little breathy in the first half but when she takes centre stage in Act Two to sing ‘As if We Never Said Goodbye’ she completely owns it and gives a powerhouse performance. This is a very difficult role and she doesn’t disappoint.
James Smith also gives a fine performance as Joe Gillis, breaking the 4th wall many times as he guides the audience through the narrative. He is a flawed character, falling for his best friend’s fiance while using Norma for her connections and money. He explains his motivation in the title song which is enormously challenging to carry off but Smith makes it look easy – all his vocals are very well delivered. His relationship with Betty Schaefer is nicely developed from initial dislike to falling in love without becoming a cliche. Catherine Harban gives a very strong performance as Betty. Her voice is pure and clear and her diction is perfect.
Richard Carlin as the selfless Max is excellent. His singing voice is rich and melodious and many of his scenes, especially the final one are quite moving. There were good performances too from Matthew Walker as Artie, Steve Mather as Cecil B DeMille, Mark Harris as Myron and John Crowther as Sheldrake, all convincing in their smaller supporting roles.
I have to give full marks to the set design too, the busy ensemble moved furniture and props very slickly as one scene transformed into another without ever slowing the pace. Norma’s lavish house with its sweeping staircase is perfectly realised but never slows down the action when it is set or struck. When Norma arrives at the Paramount studio in a fabulous white vintage car, I could hear gasps and oohs from the audience. The ensemble all play multiple roles and add to the authenticity of the production whether they are beauticians, clothing salesmen or studio dancers, with nice choreography from Claire Harriott, which is especially effective in the split stage This Time Next Year.
A great deal of attention has been paid to detail in this production, it is visually very impressive, the costumes and hairstyles/wigs are all spot-on. Even the backcloth at the studio has painted trees on it, a very nice nod to Don Black and Christopher Hampton’s lyrics. I particularly enjoyed the silent movie film of the car chase as Joe escapes his debt collectors.
This musical is largely sung-through and the nineteen-piece orchestra led by MD Matt Symonds did a fine job. They sounded wonderful throughout, though there were a couple of occasions where the music was too loud for solo lines from the ensemble to be heard. This was particularly noticeable in the busy opening number Let’s Have Lunch. This is a tiny negative, though, in a hugely impressive production. From the opening scenes of silent movie stills through to the final curtain with the four main actors in a tableau, it is a stunning achievement from this quality amateur company that any professional production would be proud of.