Sunset Boulevard, review
Tim Draxl Steals the Show in Sunset Boulevard Revival
The ghost of Hollywood’s golden age has been brought to life again by Opera Australia and GWB Entertainment with director Paul Warwick Griffin in the reimagined SUNSET BOULEVARD created by Andrew Lloyd Webber (composer), Don Black (book and lyrics), and Christopher Hampton (book and lyrics). In this production, art mirrors life in a tantalising twist: a faded star, long forgotten by the world of musical theatre, is pulled from the shadows in a bid to reclaim the spotlight after a thirty-year absence, much like the iconic character she portrays.
In 1950, Billy Wilder gifted the world with a cinematic gem—SUNSET BOULEVARD—a tale of ambition, despair, and the haunting spectre of forgotten fame. Paramount Pictures immortalised Norma Desmond, the tragic relic of the silent film era, in a story as steeped in darkness as the shadows of the movie palaces she once commanded. It is a tale told in flashback, narrated by the ill-fated screenwriter Joe Gillis, as he unravels the eerie events that led to his untimely end at the hands of the delusional Norma. Wilder’s film, revered and enshrined by the US Library of Congress, has now been reborn on stage with Lloyd Webber’s powerful score and a reverence for the cinematic magic that inspired it.
An opulent set crafted by Morgan Large
Director Paul Warwick Griffin, in his homage to the original production by Trevor Nunn, invites the audience into a world that echoes with the grandeur of Hollywood’s heyday. The opulent sets, lovingly crafted by Morgan Large, pull us into Norma’s gilded cage—a mansion that, while echoing the past, still tries to assert its relevance amidst the decay. Yet, for all the sumptuous design, there’s an undercurrent of caricature, a nod to the surreal—a world that has moved on, leaving Norma’s grand illusions to fade like old celluloid.
Sarah Brightman as Norma Desmond
Enter Sarah Brightman, the once-reigning queen of the West End, stepping back onto the stage as Norma Desmond. Her entrance is greeted with thunderous applause, the audience’s anticipation palpable as they witness the return of a legend. Brightman offers moments when the music soars—when you can close your eyes and hear echoes of her former glory—but those moments are sometimes undermined by a physicality that no longer commands the stage as it once did.
Tim Draxl as Joe Gillis
In stark contrast, Tim Draxl’s portrayal of Joe Gillis is nothing short of magnetic. Draxl infuses Joe with a cynical charm, capturing the bitter truth of Hollywood’s unforgiving machine. His voice, rich and textured, navigates the score with ease, imbuing each line with purpose and emotion. Draxl’s Joe is a man caught in a web of his own making—torn between the allure of luxury and the pull of genuine love. His chemistry with Ashleigh Rubenach’s Betty Schaefer is electric, their scenes crackling with the tension of unspoken desire and the weight of choices yet to be made.
Ashleigh Rubenach as Betty Schaefer
Rubenach herself is a revelation as Betty—a bright spark of youthful ambition in a world darkened by faded dreams. Her voice, pure and strong, complements Draxl’s perfectly, and together they offer a poignant counterpoint to the tragedy unfolding in Norma’s shadowed mansion.
Robert Grubb as Max Von Meyerling
Meanwhile, Robert Grubb’s Max Von Meyerling, Norma’s ever-loyal servant, looms quietly in the background, his silent presence speaking volumes. Grubb brings a haunting gravitas to the role, his performance a masterclass in restraint, as he reveals the depth of Max’s tragic devotion in the heart-wrenching reprise of “New Ways to Dream.”
This SUNSET BOULEVARD, with its lush orchestration by the Opera Australia Orchestra under Paul Christ’s baton, is a reminder of the dark, seductive underbelly of Hollywood—the place where dreams are born and, just as quickly, forgotten. It is a place that tells you you’re a star, only to let you fade into obscurity without so much as a backward glance.
Yet, the weight of the production rests heavily on Norma’s shoulders, and in this iteration, those shoulders seem too fragile to bear it. Brightman’s portrayal, while heartfelt, lacks the rawness and intensity that the role demands. The disconnect between the character’s delusions and Brightman’s performance leaves the audience yearning for the fire and desperation that should drive Norma’s descent into madness.
Sunset Boulevard is a tale of contrasts
In the end, this SUNSET BOULEVARD is a tale of contrasts—of light and shadow, of youth and age, of a past that refuses to let go and a future that can’t come soon enough. It is a journey worth taking, if only to witness the brilliance of Draxl and Rubenach, and to be reminded that while stars may fade, their stories—like this one—endure.
