Andrew Lloyd Weber's SUNSET BOULEVARD

The Gateway's current mainstage production is a dark, somber piece compared with the summer's earlier offerings. Based on the 1950 Billy Wilder film noir, Sunset Boulevard is set in 1949 L.A. and tells the haunting tale of Norma Desmond, a silent film actress who has faded from the screen of the '20s. When desperate screenwriter Joe Gillis stumbles upon Ms. Desmond planning her return to the studio, he convinces her to hire him...and when the tables are turned, he is hard-pressed to escape from 10086 Sunset Boulevard unscathed.

Our production features Loni Ackerman, a powerhouse who made her Broadway debut at age 19 with George M! and went on to star in Evita, Cats, So Long 174th Street, The Magic Show, and No No Nanette. I have seen the show 14 times so far and still can't get enough of her portrayal of Norma Desmond and the psychology behind the faded movie stars' slides from hopeless un-reality to an elegant woman the audience can hope for, especially with the recurring "New Ways to Dream" and the famous "As If We Never Said Goodbye." For Loni's recent Playbill.com interview about our production and more, please click here.

Joel Robertson deserves a hearty bravo for his depiction of Max, the ever-watching, mysterious servant to Ms. Desmond, the only man who truly shares her dreams, and the one who built up her world around her. His melody "The Greatest Star of All" is reminiscent of the grandeur of old Hollywood and the birthing of film entertainment that Norma and himself played a prime part in.

Robert J. Townsend gives a solid performance as Joe Gillis, the slippery writer falling for the American Dream of luxury; his successful delivery of the title number anchors the musical underscoring throughout the show. The supporting cast, including Gail Bennet as the sweet Betty Shaefer and Phillip Hoffman as great director Cecil B. DeMille, whisks the audience scene by scene through the thickening atmosphere to a stunning closing sequence.

Although I find the character psychology fascinating, and like to look for similarities in Andrew Lloyd Weber's choice of musicals (the idea of the entertainment business driving people to madness, for example, when we also look at Phantom of the Opera) I have to say this was probably a script better left for the screen. Mundane conversation in song form doesn't always make it interesting. Musical director Jeffery Buchsbaum and orchestra have done a stellar job using the score to support the script; I often hear a strain of a certain melody and think to myself "pay attention, this is a plot-affecting moment." I did tell my parents to listen to Phantom before coming to see Sunset, and I would recommend brushing up on the story of John the Baptist as well.

After the rough changeover for electrics into Sunset, I've been able to relax somewhat. Running spotlight for the show is a new experience because we're using regular Source 4 lighting instruments as spots, which involve their own challenges. We're also spotting from high side angles close to the stage instead of the usual back-of-the-house platform.

I found the first few nights frustrating to watch as the stage crew was still getting their feet and are short-handed at this point in the summer, but one of the things all interns have to learn at some point is when to mind their own department and keep their heads down. Now we are well underway and more settled into the run of the show and our routines of maintenance and building and somewhat normal living. Just 12 more days until I go home! Leaving Sweeny Todd maybe be bittersweet but I'm very ready for Vermont.

Here is the Gateway's video preview of the musical drama:



Thanks for reading! For the NYTimes review on Sunset Boulevard, visit here. For tickets, calendar, and more about the Gateway Playhouse, check out their website here.