CAODS' Sunset Boulevard Review (New Theatre Royal Lincoln, AD - PR Invite)

1 November 2024 I 19:30 I New Theatre Royal, Lincoln I AD - PR Invite

⭐⭐⭐⭐⭐

Presented by Lincoln's CAODS, Sunset Boulevard maintains their extraordinary presence and standard, utilising the mammoth Andrew Lloyd Webber musical to create an atmosphere filled with both anticipation and blissful joy. Following the show's meteoric rise with Jamie Lloyd's minimalist adaptation, Lyndon Warnsby directs a classical approach which is very profound in its approach. Visually, a lavish aesthetic is enthralling to entice audiences in, however deeply concentrated character work is where this production excels, performing the Don Black and Christopher Hampton book in such a manner that sets your pulse racing.

Norma Desmond's plight upon the famed Hollywood strip pays homage to the early 20th century Golden Era of cinema. As the pictures rise in popularity and her age renders her insignificant to the camera, Norma's stardom plummets to near nothingness. However, upon the arrival of Joe Gillis, a struggling screenwriter, promise of a legacy beyond her years is restored thus igniting her youth. Originating as the 1950 Billy Wilder film, Sunset Boulevard is a timeless tragedy, as manipulation of old-school glamour turns unforgiving and violent.

It is rare to be rendered speechless, where Nicola Calver's Norma Desmond absolutely dominates the stage, likened to a goddess able to command an audience with presence alone. One of the most riveting performances I have seen this year, beyond remarkable. Her rendition of As If We Never Said Goodbye brings a tear to your eye, recounting her youth in a conventional musical theatre thrill. The clarity and texture of voice, breath work, characterisation is all immaculate to the most refined detail. This evening was additionally opening night, where by closing the run, Calver will truly be unstoppable. Norma is a quintessentially enigmatic role, where she unlocks a fragile style of movement, a crucial sympathy that balances the production's tone.

Helen Symonds' costume design is highly admirable, a largely monochromatic palette attributed to nostalgia, but also the abject reality that Norma exists. Upon her first entrance, her figure is guarded with heavy and dark fabrics, and across the musical we see these designs evolve, removing this emotional guard. These costumes become increasingly embellished with shine, and there remains a weightlessness through Act 2, gifting Calver's expression more animation as her theatrical disconnect turns melancholic with bold, dramatic makeup.

Christian Norton's Joe is onstage for a large majority of the show, maintaining a confident and clear narration. His cynical impression is fascinating to juxtapose Norma's disposition, as audiences are introduced to his tragedy immediately as the curtain rises. Every character is flawed, and Norton's sarcasm and wit is testament to Joe's victimisation within the film industry. Completing a complex love triangle, Tegan Rowe's innocence through Betty Schaefer is a breath of fresh air, lightening the pace with ambition and love. She plays an important role in accelerating tensions in ending scenes, sharing the audience's collective distress.

Simon Nicholson's Max pleasantly surprises me, a friendlier attitude to interpretations I am familiar with, allowing his sombre admiration for Norma to appear delicate and heartfelt. Grounded as a servant, the role doesn't feature tremendously, though Nicholson's operatic vocals are incredibly poignant. This ensemble marks the strongest I have seen CAODS, delivering high levels of sophistication that allow Lloyd Webber's score to marvel.

Watching from the front row of the stalls, David Williams conducts a 19 piece orchestra that rivals West End standards. As the Overture begins, I could feel goosebumps descend with an incredibly iconic score. The sound has such a power behind the action, where the level of professionalism entices like a fantastical dream, luring us in with its divinity.

Lyndon Warnsby and Ian Marston's set design is maintained a secret as audiences enter the auditorium, which is immense in scale, appearing expensive as a fixed, ghostly rendition of Norma's mansion. With panelling along three sides, the dimensions are positively enclosing and claustrophobic. Combined with projection design, Wilder's film is revisited as an ode to silent film, faces distorting themselves on the set in illusions of greatness.

Upon seeing Sunset Boulevard, one of my all-time favourite musicals announced for Lincoln, I felt an ounce of trepidation. It is a notoriously challenging and ambitious show, although CAODS have absolutely knocked it out of the park in a smart, triumphant return to the New Theatre Royal. A hauntingly beautiful piece of writing, delivered with an exceptional vision. Although vastly different to Jamie Lloyd's West End hit, I greatly admire both in highlighting unique tragedies and themes. Celebrating 75 years, CAODS are back and more impressive than ever before!