26 years ago: The mansion had landed- Page 2

[chernjam]

Posted: 9/2/19 at 1:40am

ukpuppetboy said: "I saw each of the London Normas (at least once) during those glorious days, but Patti was far and away my favourite. Really missed the look and sound of the show once they retooled it for Betty Buckley/John Barrowman. Of the three times I saw Patti I will cherish her Charlie Chaplin routine mid-song in The Lady’s Paying which didn't make it past previews - and her stunning final “With One Look” reprisein that original key (mercifully givingthe show the button it needed) which wasadded in those early previewsafter theversionpreserved on the cast recording was met with a muted responseat the Adelphi. Such ashame they didn’t incorporate that into the London album before it was released.

Kevin Anderson was the perfect Joe from the get go, but his vocals improved so much as the run went on I feel the London recording hardly does him justice. Was so sad that hewasn’t there the full first year. I’m not sure what the story was there but it’s one more chapter in the Sunset Political Dumpster Fire for sure."

If I remember correctly, when Patti's contract was broken for NY  - Anderson wanted out immediately.  I think the whole debacle just got to him.  It was "Is it Glen or Patti" and there was never a mention about Anderson who was part of the package from the get go (had played Sydmonton and then was supposed to do London and NY)
Of all the Joe's - his recorded version is my favorite.  Alan Campbell never fit the bill for me.  Not sure why, but his voice always sounded kind of weird.  Anderson seemed natural and aloof enough for the role.  Would have loved to have seen him.

And totally agree with you. The "World Premiere Recording" was really a terribly produced recording.  I think by the time they finished recording, the ending had already been changed.  But they incorporated a lot from Sydmonton (I was never sure if they actually used the recording itself from Sydmonton or just the orchestrations).  

Man I wish that ALW would do part II of Unmasked and really get into all the Sunset stuff

[ukpuppetboy]

Posted: 9/2/19 at 2:29am

Thanks for the post chernjam. 

For memory the last time I saw Patti was in January ‘94 and Kevin Anderson’s name on the posters and in the programme had been replaced by Gerald Casey (his understudy), meaning he only did 6 months. This seems to be a little before the NY casting was announced officially (and things started getting ripped from the wall in Patti’s dressing room) but you may well be right with your reasoning. If so, what a gentleman and it only makes me like him all the more.

As for the Premiere Cast album - it was recorded and mastered during rehearsals and released a few weeks after the show had opened. Complete with the worst gun shot sound effects ever committed to tape. 

[jo]

Posted: 9/2/19 at 3:53am

Didn't Michael Ball sing the part of Joe in the first concert at Sydmonton?  There were expectations then that he might get the part of Joe, after the success of ASPECTS OF LOVE in London?  But it seems ALW favored the casting of main leads that would have no problems transferring to Broadway, if they are already members of American Equity? And what was suprising was the release of the title song as sung by Michael Ball ( not Kevin Anderson) prior to the release of the cast recording. I understand it was ALW who asked Michael to do it and not the other way around!

[David10086]

Posted: 9/2/19 at 10:03am

chernjam said: "So hadn't been on these boards in the last few weeks and was doing a search to see if any updates on the Movie-musical had popped up and stumbled on here...

So many memories. I still am unsure how/why Sunset Blvd holds such a huge place in my mind and heart. I'm not a rabid musical theatre fan (don't mean that in a derogatory way) In fact, I haven't seen a musical since the Sunset revival closed (which I saw 5 times). Probably part of the reason was Aspects of Love was the first musical I ever saw. My parents wanted me to "broaden my horizons" and see a Broadway show while I was in High School (I could pick whatever I wanted). And honestly the cheezy ads with the 30 second clip of Love Changes everything sounded nice. Long story short - those 2 and a half hours flew for me. I loved every single moment of that score and immediately bought the recording on cassette tapes that they had to be replaced 3 times.

I guess that's what peaked my interest. Reading that this composer guy was working on adapting Sunset Blvd. Didn't even know that film, so I rented it and was curious. And reading every little bit of news in those years of waiting (in the meantime seeing Phantom, Evita, Joseph, JCS) I was so excited for this.

Smiling thinking about those early internet days - going to the newsstand to read the World Premiere had to be delayed 2 weeks (and the very special weekly Variety edition to commemorate it would be delayed as well... what a long summer that made) Buying my first Barbara Streisand album just to finally hear something from the score and listening to those tunes over and over and over -

When the World Premiere came and went with somewhat lukewarm reviews, I got upset but figured ALW would not have a failure (they were rare for him at that time) with such a high profile thing. Then the cast recording was coming out in August - but only in the UK! (Really pre-Internet, what a world)

I had checked and Colony Records had the 2 cd's for easily over $100. For a poor college student - as desperate as I was - I wasn't that stupid (and I was poor). I had searched stores in Philly and no luck. One day, I just stopped by with friends to a hole in the wall CD shop near my college in Allentown PA called "toones" that was known to carry import CD's. There it was "Sunset Blvd" - for $30. I couldn't believe it. It was the longest 15 minute car ride back to my dorm room.

That remains one of the best days in my college memory - literally sitting there and listening to the entire score from beginning to end and then starting all over again.

I don't ever remember having an experience with a musical score like that... that I could just instantly become a favorite that 26 years later I still listen to over and over again. The recent revival while definitely missing the amazing sets - having a 40 piece orchestra and that incredible cast - seeing it 5 times wasn't enough :)

Thanks for reading my ramblings - lots of great memories. Even all the drama off stage only made the eventual NY bow more dramatic for me. (Saw it 8 times on Broadway - 2 with each leading lady, 2 with Karen Mason and one of those times was Closing Night on Broadway in the very last row of the balcony) I only wish ALW had been able to get Diana Ross or Cher in Broadway to keep that crazy-ass circus in and out of the theatre going for awhile longer. Betty Buckley was amazing - but those two would've been lightning to the box office for sure."

 

Thanks for sharing this!  WOW, I could've written this myself - though I'm a few years older than you. LOL

ASPECTS was my first B'way musical in 1990, though I was so bored with it. I did buy the double cassette of the cast recording, and hardly ever listened to it. Not my favorite. PHANTOM was my next Broadway show in 1991, and my faith was restored in ALW.

Like you, I went to Colony Records in the summer of 1993, and I was lucky to find the double CD for $59.99 - still have the price ticket on the cover. I bought this after Barbra's 'Back to Broadwy' (which I bought when she released it on June 29, 1993) and thought Streisand's versions were better - but Lupone's recordings grew on me. It's one of my favorites now. Couldn't wait to see her when she came to B'way!

I followed up on all the backstage shenanigans, what made the papers and kept a 'scrap book' of whatever I could find. I had a friend who was one of the musicians for 'POTO' and he would keep me updated on what he was hearing - he's the one who told me Cher had auditioned for ALW in full costume, and kncoked it out of the park in the Spring of 1996. I was going to wait for her to take the role, but then he told me negotiations had failed and ELaine Paige was taking over - so I managed to get tickets (with his help) and saw Buckley two weeks before she left. 

 

I did see the revival two years ago, and fell in love with it again. (I remember joining here, and asking about the show and YOU were the one who kept telling me to go see it - and I thank you forever!). 

[chernjam]

Posted: 9/2/19 at 10:17am

ukpuppetboy said: "Thanks for the post chernjam.

For memory the last time I saw Patti was in January ‘94 and Kevin Anderson’s name on the posters and in the programme had been replaced by Gerald Casey (his understudy), meaning he only did 6 months.This seems to be a little before the NY casting was announced officially (and things started getting ripped from the wall in Patti’s dressing room) but you may well be right with your reasoning. If so, what a gentleman and it only makes me like him all the more.

As for the Premiere Cast album - it was recorded and mastered during rehearsals and released a few weeks after the show had opened. Complete with the worst gun shot sound effects ever committed to tape."

That sounds correct (about Kevin leaving earlier) he probably saw the handwriting on the wall more than Patti ever wanted too and I don't remember hearing or reading him saying anything about SB after his time ended.  Truly a gentleman.  I kind of wondered if that was why ALW added him to his "Platinum Recording" by using that version of the title song rather than the multiple options that were available (including Michael Balls, which I hated...  maybe it's me - but both Ball and Sarah Brightman for what it's worth - after there big breaks in Aspects or Phantom respectively, I've never liked their work with ALW after... and I can't hear Ball sing Love Changes Everything anymore.  His concert tour with that has turned that into this crazy pop-anthem that I'm sick of - I digress... I have A.D.D.  :)

BTW - with the "remaster" of the World Premiere recording, they tried to make the gun shot sound  a little better.  If that doesn't demonstrate what a rush job that recording process was, I don't know what would.  Kind of underscores ALW's arrogance at the time, thinking that they had the show "frozen" and that there would only be minor tweaks and adjustments rather than massive re-writes.  In fairness to Patti, she deserved a full symphonic orchestra as Close had gotten for the American Premiere Recording - as well as all the changes and revisions (including the real finale rather than the constant re-writes they were doing during previews)

[chernjam]

Posted: 9/2/19 at 10:24am

David10086 said: Thanks for sharing this! WOW, I could've written this myself - though I'm a few years older than you. LOL

ASPECTS was my first B'way musical in 1990, though I was so bored with it. I did buy the double cassette of the cast recording, and hardly ever listened to it. Not my favorite. PHANTOM was my next Broadway show in 1991, and my faith was restored in ALW.

Like you, I went to Colony Records in the summer of 1993, and I was lucky to find the double CD for $59.99 - still have the price ticket on the cover. I bought this after Barbra's 'Back to Broadwy' (which I bought when she released it on June 29, 1993) and thought Streisand's versions were better - but Lupone's recordings grew on me. It's one of my favorites now. Couldn't wait to see her when she came to B'way!

I followed up on all the backstage shenanigans, what made the papers and kept a 'scrap book' of whatever I could find. I had a friend who was one of the musicians for 'POTO' and he would keep me updated on what he was hearing - he's the one who told me Cher had auditioned for ALW in full costume, and kncoked it out of the park in the Spring of 1996. I was going to wait for her to take the role, but then he told me negotiations had failed and ELaine Paige was taking over - so I managed to get tickets (with his help) and saw Buckley two weeks before she left.

I did see the revival two years ago, and fell in love with it again. (I remember joining here, and asking about the show and YOU were the one who kept telling me to go see it - and I thank you forever!)."

I'm glad I was a good ambassador!  :)  And I laughed when I read about the sticker price from Colony.  You're obviously correct - and I'm remembering as a college student probably thinking it was much higher than that.  I remember them selling "single" CD's (like the singles of "Sunset Blvd" by Michael Ball) for ridiculous prices that when they eventually made their way to an ALW collection I remember thinking I'd have been pissed if I had spent all that at the time.  

Cher rather than Elaine Paige on Broadway --- things could've been very different.  For me Paige was the worst of the NYC Normas.  The first time I saw her in it, I was impressed (though didn't really care for) her vocal power.  And acting wise thought she was a disaster.  Cher would've brought a whole different audience in.  Not sure that would've been enough to save its Broadway run - particularly if she was demanding such a high salary.   

[carnzee]

Posted: 9/2/19 at 11:23am

I'm touched by how much this show means to some of the posters here. I don't love it as much as you guys, but I get it. I've gotten lost in YouTube watching the various Normas before, and I'm glad I saw the revival.

Regarding Kevin Anderson, I believe Patti eludes to him having his own difficulties with the production, but she was uncharacteristically mum as to what those might have been.

[Lot666]

Posted: 9/3/19 at 9:43am

chernjam said: "Thanks for reading my ramblings - lots of great memories."

Thoroughly enjoyed it!

[Lot666]

Posted: 9/3/19 at 9:44am

chernjam said: "Man I wish that ALW would do part II of Unmasked and really get into all the Sunset stuff"

Me too. I was so disappointed with where his book stopped.

[nasty_khakis]

Posted: 9/3/19 at 10:27am

Don't except Webber to talk too much about any Sunset drama. What with lawsuits, etc he's likely not able to say much, but also part 1 of Unmasked was pretty drama free. It was honestly maddening to read him never take responsibility for any wrong doings or mistakes. He's likely to just say "what a pity it didn't all work out," give Patti praise, talk about "pressure from investors for a name" and then praise Glenn.

[David10086]

Posted: 9/3/19 at 4:31pm

carnzee said: "
Regarding Kevin Anderson, I believe Patti eludes to him having his own difficulties with the production, but she was uncharacteristically mum as to what those might have been."

 

Yes, she hints that he was not having a good time with SB in London during his run, and he had his problems with ALW - but doesn't really get into it. I've heard her say this in interviews, too - she says 'that's his story to tell' and doesn't elaborate. Just that he found out he was let go from the Broadway production the same way she found out - through the media. He was not mentioned as the actor playing Joe Gillis, so he knew he was out. 

But that was in March, 1994 - yet this thread said he left in January, after 6 months?  I guess he was still hanging on to hope that the production was going to NYC after he left ? 

[BenjaminNicholas2]

Posted: 9/3/19 at 4:54pm

I was young, but even then, I knew that no one was ever going to sing the role as good a Buckley.

[GavestonPS]

Posted: 9/3/19 at 5:41pm

^^^^^ You were young back then. Now you're old enough to know the phrase you want is "sing the role as well as". (Emphasis added.)

While we're singing the praises of the two hit songs--"As If We Never Said Goodbye" and "With One Look"--we should remember the lyrics (which I personally think are terrible) were written by a young lady. ALW later bought out her interest in the show for a flat fee, allowing him to credit the entire libretto to Don Black and Christopher Hampton. I wonder what ever happened to that young woman? Maybe she has her own ALW-memorial swimming pool!

Back on topic: I never saw LuPone in SB, but her recording is my go-to version. The problem is she plays the role so fiercely it only serves to highlight many of the libretto's worst elements. Contrast with Glenn Close--whom I saw in the role several times in LA--who plays Norma with her tongue-firmly-in cheek, allowing the audience to think she is in on the joke of the mediocre lyrics and laughable plot twists.

Bottom line: LuPone played the part better, but in doing so did nothing to hide the plot holes. Glenn was busy playing camp idol, but in the process she covered up a lot of those holes.

[carnzee]

Posted: 9/3/19 at 6:19pm

I know " that young woman" (don't have the booklet at hand) was credited with a "special thanks" or something in the CD booklet. I always wondered about her involvement.

I don't hear Close's performance as tongue in cheek. To me, she seems to believe every word. 

Updated On: 9/3/19 at 06:19 PM

[CATSNYrevival]

Posted: 9/3/19 at 8:00pm

GavestonPS said: "I wonder what ever happened to that young woman?"

That was Amy Powers. She wrote the lyrics for Doctor Zhivago.

[chernjam]

Posted: 9/3/19 at 8:02pm

The young woman was "Amy  Powers" - who was thanked for her contributions in the original production.  I think her lyrics were something like "Just One Glance" which became "With One Look" and similar types of things as the show was re-written between the first and second Sydmonton workshops.
 

[theatreguy12]

Posted: 9/3/19 at 10:05pm

I know there will always be those who critique Close on her camp-like take on the role, and her voice,

But I will say that the only time I saw Sunset Boulevard was during its pre-Broadway run at the Shubert in L.A. and Close's performance just floored me.   From beginning to end I was captivated by both her voice and her interpretation of the role.  

When It got to that point in "As If We Never Said Goodbye" where she hits that line "I've come home at last," the energy in the theater just ignited.   Jaws around me were dropped, and as my friends and I sat there in the front center mezzanine, it was as if she was looking right at us with that fist up.  It was unlike anything I had ever experienced up to that point in my theater-going life.   It just sent chills.   

When the song came to an end, the audience just erupted.   She hit it so magnificently, and the way she belted that line was one of those moments in theater I will never forget.

[chernjam]

Posted: 9/3/19 at 10:17pm

theatreguy12 said: "I know there will always be those who critique Close on her camp-liketake on the role, and her voice,

But I will say that the only time I saw Sunset Boulevard was during its pre-Broadway run at the Shubert in L.A. and Close's performance just floored me. From beginning to end I was captivated by both her voice and her interpretation of the role.

When It got to that point in "As If We Never Said Goodbye" where she hits that line "I've come home at last," the energy in the theater just ignited. Jaws around me were dropped, and as my friends and I sat there in the front center mezzanine, it was as if she was looking right at us with that fist up. It was unlike anything I had ever experienced up to that point in my theater-going life. It just sent chills.

When the song came to an end, the audience just erupted. She hit it so magnificently, and the way she belted that line was one of those moments in theater I will never forget."

Ditto theatreguy - the first time I saw Close on Broadway (about a week after it opened) obviously emotions and expectations had gotten even more sky high then they were in LA.  The second Close first appeared on that beautiful mansion and started to descend that massive staircase, she had that audience wrapped around her fingers.  When she hit that ending to AIWNSG, the ovation was unlike anything I had experienced in a theatre before.  

Fast forward to 2017.  Never imagined Close would've been able to hold up or equal her first run... knew her voice was "thin" before and couldn't have imagined the years would have made it any better.  Was happy to be proven incredibly and completely wrong.  The master actress that she was, she was able to use her age and that skepticism that many must've had coming into the theatre that you were hoping she'd be able to hit the notes.  When she did, you were apart of Norma's delusion come to life.  Again, but in some ways completely different - it was unlike anything I had ever experienced in a theatre before.

[ArtMan]

Posted: 9/3/19 at 10:26pm

I saw the original cast with Patti on my first trip to London.  Saw it a couple of days after opening.  (I just looked on wiki to see when it opened).  I only remember it was two /three days after being in Paris on  Bastille Day.  I don't really remember too much about the production, but I had really close seats.  I was more amazed that the audience was able to eat ice cream in the theater, at intermission.  I know I bought the program, which Patti autographed, but  I gave it away years ago.  I have the Patti recording, but like all of my cast recordings, I have never listened to it.

Updated On: 9/3/19 at 10:26 PM

[ArtMan]

Posted: 9/3/19 at 10:26pm

double post

Updated On: 9/3/19 at 10:26 PM

[David10086]

Posted: 9/7/19 at 8:58pm

I've always wondered why they called the LuPone recording the "World Premiere Recording" and not 'Original London Cast Recording' ? Most every cast recording I own either says 'London Cast' or 'Broadway Cast'....which makes me wonder why the Close recording is the 'American Premiere Recording' ? LOL

 

I must say, I don't enjoy Diahann Carroll's recording - though I've heard / read many testimonials that her performance outdid all the other divas. I guess it just didn't translate well to recording? 

I do, however, love the Helen Schneider German cast recording - even though I don't understand German! The emotion she brings to each song is incredible. 

[AEA AGMA SM]

Posted: 9/7/19 at 9:08pm

David10086 said: "I've always wondered why they called the LuPone recording the "World Premiere Recording" and not 'Original London Cast Recording' ? Most every cast recording I own either says 'London Cast' or 'Broadway Cast'....which makes me wonder why the Close recording is the 'American Premiere Recording' ? LOL"

Well the American Premiere Recording was not the Broadway cast, as Judy Kuhn only played Betty in Los Angeles but was replaced for the Broadway run by Alice Ripley (anyone know if there was drama around that replacement, or was it a case of Judy Kuhn just not being available?)

Kind of interesting, though Judy did get to record what most probably view as the Broadway Cast Recording of Sunset, she didn't appear on the cast recording of the revival of She Loves Me right around that same time since she had left that production (I assume for Sunset Boulevard) before the recording was produced. 

[chernjam]

Posted: 9/7/19 at 9:16pm

OK - let me see if my recollections are accurate.  They had initially planned the American Premiere Recording (not a Broadway cast, since at that point LuPone and Anderson were still contracted to do Broadway) and did a day of recording shortly after the LA debut.  LA had a terrible earthquake that whatever they had done on that first day was lost and they had to start over again a few weeks later.  It might have been February at that point .  But the LA cast was expected to continue playing in Los Angeles after Close left the show.  After the LuPone/Close drama and then the Close/Dunaway drama where they ended up shuttering the show in LA - they offered to bring the entire cast to NY.   Judy Kuhn didn't make it to NY because I think she got pregnant?  Which was a shame... vocally she was the best Betty by far.

[AEA AGMA SM]

Posted: 9/7/19 at 9:25pm

Thanks, now that you mention it I do seem to recall Judy Kuhn's pregnancy being cited as the reason she didn't move with the show to New York with most of the rest of the company. 

I do think she sings it well on the recording, but I've always been more partial to Meredith Braun on the World Premiere recording. She has a youthfulness to her sound that does make it easy to believe when she says she's 22 (Judy was into her mid-30s by the time she played the role and has a certain maturity to her sound that belies the character's age).

[A Director]

Posted: 9/7/19 at 10:42pm

Here's a little trip down memory lane.

This is Frank Rich's review of the London production. https://www.nytimes.com/1993/07/14/theater/critic-s-notebook-upstaging-a-new-lloyd-webber-musical.html

This is a story from Newsweek. https://www.newsweek.com/boulevard-broken-dreams-190204  ALW comes across as a shy little coward.  Ms Close should thank her lucky stars for Vincent Canby's gush.

When Betty Buckley replace Close, the critics reviewed the show again. Many critics said it was nice to have someone who could sing the score.  Mr. Canby did not agree.

Billy Wilder's movie is a masterpiece; ALW's musical is not.