I can’t remember ever feeling as apprehensive about a night at the theatre as I did heading to the Opera House last night to catch Sunset Boulevard. When Opera Australia announced it would bring theatre legend Sarah Brightman to Australia to play Norma Desmond, we were thrilled. We purchased tickets as soon as they went on sale, forking out big bucks (and let’s face it, most decent seats commanded big bucks) to see this once-in-a-lifetime talent. But it seemed almost as quickly as Sarah arrived in Naarm/Melbourne for that city’s season the bad reviews went to press. The Guardian said she was “simply not up to the task … not physically, not dramatically, and certainly not vocally.” ArtsHub called her “woefully miscast,” noting that “it’s clear she does not possess the skills to play Norma”. Members of theatre communities I’m a part of on Facebook suggested understudy Sylvie Paladino was far superior, and insisted people should try to get tickets for her performances. All the chatter made me … concerned. I braced myself for the worst. Last night I walked out pleasantly surprised and wondered why the criticism had been so loud.
I don’t pretend to be an authority on Sunset Boulevard. I knew Norma Desmond was a faded star from the golden age of Hollywood who would collaborate with a young writer on a new script to relaunch her career. I knew the famous “Mr DeMille I’m ready for my close-up” line without any context and “As If We Never Said Goodbye” has long been a favourite theatre song, although again I didn’t know where it fitted into the story. I’m glad I didn’t have any preconceptions though. It meant I couldn’t compare this production to any others, I could just get swept up by the story. And I did. More than once my mouth was hanging open, shocked at the plot twists and turns.
It also meant that I couldn’t compare Sarah’s performance to the Norma Desmonds who came before. It seems some of the criticism comes from Sarah’s unique vocals. Certainly her angelic voice is a world away from the earthier tones of a Patti Lupone or a Glenn Close. Her operatic style was also a world away from the more straightforward theatre delivery of her fellow players. But she was Norma Desmond. The greatest star of them all, as we’re repeatedly told. She should stand out on that stage. I’ve read criticisms of Sarah’s voice in some of those Melbourne reviews, but I didn’t hear anything that should be picked apart. I’m not sure if she’s simply found her groove after an extended time away from the stage or they were being ruthless, but I felt blessed to witness her talents. I was especially wowed by “As If We Never Said Goodbye,” but I honestly felt like she didn’t put a foot or a note wrong.
The criticism of Sarah’s acting also feels below the belt to me. This is absolutely a demanding role. Most of us don’t know the level of madness Sarah was attempting to capture, so it’s difficult for us to say whether she did it well or not. I felt she inhabited the character, bringing all of her age and experience to the role. At 64, with extended time away from the stage, the parallels between Sarah and Norma are evident. Norma is clearly more unhinged, delusional, and off-the-wall, but Sarah took on all of that. I believed her, and I’m not sure you can ask more of an actor than that.
Sarah is the star, and quite rightly so, but she’s supported beautifully by the rest of the cast. Tim Draxl and Robert Grubb are some of the nation’s best. Ashleigh Rubenach has taken on major roles in smaller productions, but most often she’s part of the ensemble. She showed such promise as Betty, shining every time she stepped on stage. I’ve often marvelled at the depth of talent we have here in Australia. We can bring a star like Sarah here, and it’s wonderful when we do, but we honestly don’t need to.
While I’m heaping praise on the production, it’d be remiss of me not to mention the incredible set. I haven’t seen grandeur like it. Bringing a story that began as a film to life on the stage is always a hard ask; I can’t recall a team ever doing it so well. It was immersive, impressive, and beautiful.
If you’re plugged into the theatre community like me, you may have already written Sunset Boulevard off. Don’t. I’m not sure whether it’s found its feet in Sydney or people were simply unkind, but it’s an exciting revival. Sarah Brightman is a natural Norma Desmond, but every actor plays their part to make this production so special. Go see it, and Sarah, while you can. Sunset Boulevard plays at the Opera House in Eora/Sydney until November 1.
Image source: own photo