Review: SUNSET BOULEVARD at Palm Canyon Theatre

Few things in modern media culture are as lasting across generations as the tightening face forward shot of a deeply demented Gloria Swanson saying “Alright Mr. DeMille, I’m Ready for my Closeup” in Billy Wilder’s 1950 fim noir classic  “Sunset Boulevard”.  Madness, desperation, love and loss highlight a story that stripped off the golden trapping of Hollywood in its most splendorous era to reveal the seedy underbelly just under the surface.  Andrew Lloyd Webber musicalized the tale in 1993, his “Sunset Boulevard” was a notoriously difficult musical to stage—lavish, vocally demanding, and dependent on a powerhouse leading lady.  Glenn Close was the belter who wore that crown in its Broadway debut.  Since that time, the show has seen several revivals, including a critically acclaimed media heavy version last year which earned its leading lady, Nicole Scherzinger an Olivier and a Tony Award during its bi-national run.

It is against this backdrop that Palm Canyon Theatre stages their current production,  not only meets those challenges but transforms them into triumphs, delivering one of the company’s most accomplished shows.

The story follows Joe Gillis (Christian Quevedo), a struggling  screenwriter having hit a wall of rejection, self-doubt and burnout, who stumbles into the decaying mansion of faded silent film star Norma Desmond (Se Layne). What begins as a professional arrangement quickly spirals into obsession, delusion, and tragedy.

From the opening number, “Let’s Have Lunch,” the production bursts with energy. Director and choreographer Derik Shopinski marshals a 20-member ensemble across a compact stage with precision and flair. The ensemble’s vocal power creates a thrilling wall of sound, while the choreography captures the frantic pulse of Hollywood’s golden age.

Nick Edwards’ projections hit another level of excellence here, adding cinematic flair, particularly during Joe’s rain-soaked drive through Los Angeles. The use of vintage film clips and clever lighting transforms a simple curtain into a dynamic storytelling tool.  He also gets to shine in front of the curtain as the pushy Sheldrake.

The heart of the production, however, lies in Se Layne’s mesmerizing portrayal of Norma Desmond. Layne’s operatic soprano and commanding stage presence make her both grand and heartbreakingly fragile. Her rendition of “With One Look” is a masterclass in emotional storytelling, revealing the loneliness beneath Norma’s glamour. By the show’s haunting finale, Layne’s descent into madness is both terrifying and deeply human. The tragic role of down on his luck lothario Joe Gillis is played by Christian Quevedo.  Handsome, charming and desperate, Quevedo embodies Joe Gillis with white knuckle intensity in living a triple life: paramour en savior to the mad Ms. Desmond, Budding true romance and equal artistic partner to Betty Schaeffer as well as trying to dig his own career out of the gutter.  Well known as a lyric Tenor tour de force, Mr. Quevedo is a foil for Ms Layne's gradiosity and style.

Mark Almy’s Max, the devoted butler, brings gravitas and warmth, his rich baritone voice lending depth to a character often overshadowed.  Tara Howard’s Betty Schaeffer provides a bright, grounded counterpoint to Norma’s world of illusion.  Darin MacLeod's Cecil B DeMille and Stephen Giboney's Artie Green were also standouts

Musical direction by Steven Smith ensures that Lloyd Webber’s lush score resonates even with a small live combo. The trio of piano, bass, and drums delivers intimacy and flexibility, though one occasionally misses the grandeur of the original orchestration.

Shopinski’s multitasking is impressive—his direction, choreography, and costume design all shine. Norma’s endless wardrobe changes dazzle, and the ensemble’s period costumes evoke 1950s Hollywood with flair. J.W. Layne’s set and lighting design, paired with Nick Campbell’s sound design, complete the illusion of cinematic opulence on a community theatre scale.  My only quibble, which I hope was just a glitch on the night I attended, Christian's mic had a mind of its own and he was fading in and out.  With Quevedo's vocals, you don't want to miss a minute!

Palm Canyon Theatre’s Sunset Boulevard is a rare achievement: a live production that feels both intimate and epic. Anchored by Se Layne’s unforgettable performance, it captures the tragic beauty of a woman who refuses to fade into the past—and the dangerous allure of a dream that never dies.

“Sunset Boulevard” runs Thursdays at 7PM, Fridays & Saturdays at 7:30 pm and Sundays at 2pm through April 5.  Tickets can be purchased ONLY at palmcanyontheatre.net or by calling the box office at (760) 323-5123.  The theatre is located at 538 North Palm Canyon Drive, Palm Springs.

Palm Canyon Theatre continues their 2025-26 season slate:

Kiss of the Spider Woman  (Apr 17 - 26) Set in a brutal South American prison, Kiss of the Spider Woman is a daring, poignant musical about fantasy, love, and survival. As two prisoners form an unlikely bond, haunting visions of a mysterious diva blur reality, and illusion. Passionate and provocative, it’s a stunning exploration of human connection.

The Tuesday Show: Laurel Canyon Live (Apr 21) “The Tuesday Show” with Francesca Amari! One of Palm Springs' favorite songstresses brings her friends to the Palm Canyon Theatre stage for a monthly cabaret series benefiting Palm Canyon Theatre! “Laurel Canyon Live" features iconic music from some of the most influential songwriters and performers who lived in Laurel Canyon, Calif. in the mid-1960s to the 70s. The evening’s music director is Scott Smith, joined by performers Daniel Stewart, Estee Graham, and Jason Ayestas.

The Ritz (May 8 - 17) Farce meets fabulous in The Ritz, a hilarious comedy set in a Manhattan gay bathhouse. When a straight man on the run from the mob hides out in an unexpected place, chaos ensues. With outrageous characters and mistaken identities, this rowdy 1970s romp is full of pure campy joy.

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