Sunset Boulevard: A tortured tale makes its Singapore debut

Is being pitied the worst thing in the world? And being loved out of pity– is that better than not being loved at all?

I wasn’t prepared to be pondering such deep questions when I chanced upon the 1950 black-and-white film Sunset Boulevard some 15 years ago. It turned out to be the first B&W film I ever watched right from start to end. No surprises, then, that I jumped at the chance to watch the adapted Andrew Lloyd Webber musical at Sands Theatre, Marina Bay Sands.

Headlining the cast of Sunset Boulevard, the musical is Sarah Brightman as Norma Desmond. Astute readers may remember her as the original Christine Daae of The Phantom Of The Opera, a role specifically penned for her by then-husband Webber in 1997.

Tim Draxl steps deftly into the role of Joe Gillis, the struggling writer who steps deftly into Norma Desmond’s life, mansion and bed. Ashleigh Rubenach appears as Betty Schaefer, an almost side character whose innocent actions lead to tragedy no one can foresee. The main quartet is rounded up by Robert Grubb as Max Von Mayerling.

You can also catch Jarrod Draper as Artie Green and Paul Hanlon as Cecil B. DeMille (who played himself in the original film).

Performance

It still mesmerises me that a stage performance can transport my mind exactly where the script intends. Here, the setting, the characters, their costumes and the dialogue sidled me effortlessly into the 1950s.

One of the remarkably interesting elements of the set was the curtains, used throughout to convey dark mood, confusion and chaos. Intricately patterned in almost a wayang kulit design, they added a unique play of shadow and light in several important scenes. The set wasn’t as sophisticated or varied as, say, Miss Saigon but that hardly detracts from the tale.

Sunset Boulevard also falls short in memorable numbers. However, I did like all the three that had a reprise through a different character, juxtaposing meaning, motivation and interpretation. Max’s rendition of New Ways to Dream, in particular, cuts like a knife compared to the earlier duet by Norma and Joe.

As the scenes progressed, I was so happy that I had forgotten the intricacies of the plot from the film. The most shocking moments were exactly the same in the musical and revealed at the perfect time for staggering impact; the gush of gasps and cries from the audience was proof of that.

Sunset Boulevard does have its moments of levity but they are few and far between. Much of the film noir personality of the 1950 movie is faithfully adapted here for a lugubrious production that deals with some very difficult debates about our actions and motivations, and how easy it is to sell out.

Tim Draxl and Ashleigh Rubenach are convincing and the audience enjoyed their interaction for its chirpiness. But, of course, Sunset Boulevard is hardly about chirpy scenes.

Then, there is Max who is Norma’s butler, but so much more than that. If you aren’t familiar with the plot of Sunset Boulevard and think you know what that means, you don’t. After the big reveal, set his character and Joe’s next to each other– who is the villainous one? Whose fingerprints are really on the gun?

Final thoughts

This is Sarah Brightman’s debut performance in Singapore, and it would have been wonderful to see her perform at her peak. Are the parallels of her character’s glory fading with age almost a little too close for comfort? Perhaps so, and it strikes me as mightily brave for any actress to step into Norma Desmond’s shoes. She does so competently.

To me, the character of Max Von Mayerling is the lightning rod around which much of the plot revolves, even if it seems otherwise. The revelation towards the end will have you revisiting every scene in which he appeared with a more observant eye.

At 150 minutes, including a 15-minute intermission, the length of this production of Sunset Boulevard is a tad too much. But I have that issue with every musical that goes this long; you may love it.

Of all the elements woven into this tapestry of the human condition, the foremost for me are the two questions I asked at the start. Sunset Boulevard takes you on a journey into an unraveling mind grasping for answers but never confronting those questions head-on. It’s uncomfortable, embarrassing and unsettling if you think too deeply. But well worth a day at the theatre.

Catch Sunset Boulevard at Sands Theatre, Marina Bay Sands till 23 Feb 2025.

Get your tickets from S$79 on Klook SISTIC

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