It was expensive to mount and run back in 1994-95. In the today's world economy you can expect projections IF it ever came back to Broadway.
That original full-scale gargantuan set design will never be seen again on any stage. In any shape or form. It survives in the memory of those who saw that full-scale production and in the visual and print archives that survive of it.
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad
I love this show. I saw it in London and the tour here in the U.S. The larger production (that lost money) is of course my favorite, but the smaller scale version still works.
Yes, but it wasn't even "fun" camp..if they had really camped it (they way Carol Burnett did once) it might have been easier to take but it would not have worked with ALW's pseudo-classical score. Some flop shows are fun. This one was insulting.
Even washed garbage is still garbage.
Cast albums are NOT "soundtracks." Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
I think the score is gorgeous, all three songs of it.
Seriously, Mr. Webber, concerning your "recycling themes" technique... you really went too far this time.
"Y'know, I think Bertolt Brecht was rolling in his grave."
-Nellie McKay on the 2006 Broadway production of The Threepenny Opera, in which she played Polly Peachum
I cast my vote for Adam Pascal as Joe Gillis and for some reason I want to see what Julie Andrews would do with the role of Norma if given carte blanche.
I agree 100% about Pascal as Joe Gillis. Kevin Anderson was by far my favorite Gillis because he had an edgier sound, and Adam Pascal would take that even further.
Perhaps Sunset could have a viable financial life in a commercial setting if it could be trimmed down the wway the book and score were for the Las Vegas productions of Hairspray and Phantom. The score can get monotonous, but the melodies are complex enough that a few repetitions won't kill them. I say, give it another 5 years and let's have ALW do the reality show casting for SB via, 'New Ways to Dream: the search for the next Norma and Joe."
Unfortunately, Julie Andrews can no longer sing therefore she would have to do a Rex Harrison and talk-sing her songs.
Also, people seem to forget that Norma Desmond is only 50 years old and not some aging old woman. Gloria Swanson was only 49 when she filmed SUNSET BLVD. and the character was 50 years old. Julie Andrews is in her 70's.
SUNSET is actually one of my favorite ALW scores. I'd LOVE to see this on Broadway, and I'm also in the minority that liked the smaller version better (except the car chase, that was laughable on tour). I say bring it back in a more intimate production.
SUNSET is certainly one of my favourite shows. I understand that the score is a little rough (the book could use a little work too) & you hear the same tune every time that person steps on the stage(!), but I really enjoy the story line (obviously because I was a fan of the movie beforehand!).
In regards to the scenic design, I wouldn't find projections an attractive fit for this show. I don't really think that a completely scaled down version like the Petula Clark tour would work too well for atleast the mansion part. It looked like Phantom of the Opera's Masquerade staircase with a bench attached to it if memory serves right!
And I have to agree with COOOLkid, it would probably flop again regardless. It's no Carrie; it's a proven piece & with the right cast it could be great as well...but if they scale it down too much people probably wouldn't show up and if it's too lavish then they wouldn't make enough money again. And also, I don't think keeping the same supporting cast necessarily helped them either during the Broadway run (minus Alice Ripley!); I think some people just got tired of the three, especially Alan Campbell (I didn't!).
"In theater, the process of it is the experience. Everyone goes through the process, and everyone has the experience together. It doesn't last - only in people's memories and in their hearts. That's the beauty and sadness of it. But that's life - beauty and the sadness. And that is why theater is life." - Sherie Rene Scott
I heard her sing "With One Look" one time and it was pretty freaking fabulous, she'd be extremely interesting in the role. And I mean that in the best way possible.
Now what would you say if today I started over?
Without a thing but this taped together four leaf clover
And I'll pretend like everything is already alright
And I'll run toward the sun till the castle's out of sight