Sunset Boulevard
Sunset Boulevard’s Norma Desmond is a magnificently complex creation. Originally depicted by Gloria Swanson in Billy Wilder’s magnetic 1950 movie, she’s the star of countless silent movies, a living legend accruing thousands of adoring fans during her heyday. But the talkies took over Hollywood, and her light was cruelly dimmed, sending her retreating to her decaying hilltop mansion with loyal butler Max Von Mayerling (Erich von Stroheim). While Norma cuts a tragic figure in her middle ages as the story begins, she can still command a room. “I am big. It’s the movies that got small,” she acidly enunciates at down-on-his-luck movie writer Joe Gillis (William Holden in the movie) when he unexpectedly shows up at her door. Spying a way back to the spotlight through his words, she sets him to work on her chaotic Salome screenplay, abusing her money as power over him. As a noir-tinged chamber piece,Sunset Boulevard hangs on this increasingly twisted relationship, dancing between dark and the light as moments of hope are dashed to doom.It’s just the stuff The Phantom of the Opera maestro Andrew Lloyd Webber thrives on, eventually securing the story after a tortuously long ‘will they, won’t they’ that thwarted both Swanson and Stephen Sondheim. Webber’s soaring musical adaptation – with Phantom-like stirrings over a book and lyrics by Don Black and Christopher Hampton – returns to Australian stages, care of Opera Australia, almost thirty years after Debra Byrne and Hugh Jackman tack