Like the title character in last year’s Oscar winning film The Artist, Sunset Boulevard’s Norma Desmond was once a huge star of Hollywood’s silent era.  Unlike The Artist, Desmond failed to embrace the progress of the film industry by not only ignoring the development of the talkies but actually treating it with disdain.  She retired from her career, hid away in her gothic, Hollywood mansion and waited in the delusional belief that the industry would eventually come knocking on her door, begging her to return once again to the silver screen. 

Despite the original production’s huge success in both London and New York, the financial cost of keeping the show alive was a problem.  Andrew Lloyd Webber’s signature style of making every production something of a spectacle took its toll on the musical, due mostly to the elaborate set, the interior of Norma Desmond’s mansion that literally lowered from above, Desmond’s vintage automobile that becomes an important plot point in the second half, and a swimming pool containing a floating, dead body.  In this new and ambitious production presented in Scottsdale by Desert Stages Theatre, director Terry Helland effectively circles around these issues by ignoring the problem of the vehicle altogether – it’s simply referred to – projecting the image of the pool from above, and by creating the illusion that the whole of Cullity Hall, the main stage section of Desert Stages Theatre, is Norma Desmond’s home. 

When we, the audience, are ushered to our seats in this intimate theatre in the round it’s as if we’re unacknowledged guests, invited to spend some time in Desmond’s expansive living room.  The all important staircase is situated in one corner while the walls are adorned with black and white glossies of actors from the silent era, including Douglas Fairbanks, Valentino and Desmond herself.  Changes in scenes and sets are suggested by nothing more elaborate than the moving of furniture and the lighting design.

Even though Lloyd Webber’s score could arguably be considered less memorable than some of his other works, the melodies and arrangements perfectly evoke the melodramatic setting of the period and contain two of theatre’s truly great songs, With One Look and As If We Never Said Goodbye.  With One Look explains how the now aged silent movie star could capture the imagination of a cinema audience by just an expressive glance, while As If We Never Said Goodbye is Desmond’s heartfelt thoughts and feelings of what it means for her to return to a movie set after such a long absence.  “I’ve come home at last!” she declares.  The bitter irony of the moment is all the more dramatic when we discover that Paramount Pictures have asked her back in order to use her vintage car as a prop, not for her.

Both of these wonderful songs are performed to emotional perfection by Alaina Beauloye who makes them come alive.  Alaina not only fleshes out Norma Desmond’s ever increasing descent into madness but she does it with an economy of glances and movement.  With the exception of the final few moments where her descent is all but complete, Alaina never falls into the trap of making Desmond a caricature, something that other Desmond’s of the past have had a tendency to do.  Stephen Serna makes a fine Joe Gillis with his required handsome looks and nicely pitched singing voice, and Dave Rodgers is an effective and commanding presence as Desmond’s imposing manservant, Max.

The accompanying score is a professional recording played through speakers at a volume that often becomes abrasive.  All actors are mic’d, and at times it felt as though they were actually in competition with the sound of the score.  In such an intimate setting where we’re all practically on stage with the performers you have to question why so uncomfortably loud.  It’s like being trapped in someone’s home with the stereo turned up to maximum level.

Plus, considering how close we are to everyone performing – there is virtually no separation from the cast and the audience – less theatrical projection is required; some of the broad gestures should be toned down.  Also, for the same reason of close proximity, members of the ensemble need to be careful of breaking character.  A nervous side glance or hesitation in movement is too clearly observed and has a tendency to break the spell.

However, director Terry Helland and choreographer Katrina Sanders use the limited space to its maximum effect and have delivered an immensely satisfying and enjoyable production that serves as an example of how a grand and an enormously expensive production can be just as effective when presented in a smaller and far more intimate setting.

For more information regarding times, dates and tickets, CLICK HERE to go directly to the Desert Stage Theatre website.