As If We Never Said Goodbye

This is a bit of a delayed one, as it is nearly a week as I saw this particular show - I have been super busy and have not had a proper chance to write until now. But never mind, here I am to do my review of the UK tour of Andrew Lloyd Webber, Don Black and Christopher Hampton's Sunset Boulevard, a show I had heard about before but wasn't too bothered about - until I heard Ria Jones sing As If We Never Said Goodbye - but I'll get to that later.

I'm going to start on a bit of a tangent here guys; because for the first time in a while, I was late to a show!!!!! Some right ___________ had decided to park right in front of our drive, completely blocking it! Thankfully, he apologised sheepishly and moved it and if it were only that, we would have probably made it in time. That is, until we hit the Salford/Manchester border and the traffic was atrocious! Oh well, I may have arrived 15 minutes late, but I did get there just in time to see Norma Desmond make her first appearance on her famous staircase.

Following Hollywood screenwriter Joe Gillis, who's life is changed forever when he meets faded-silent-movie star Norma Desmond, the show is based on the 1950 Billy Wilder film of the same name. It received 7 Tony Awards for its original Broadway production (including Best Musical) and has been nominated for many more, including 8 Olivier

award nomination over the years. Over that time there have been many a big fat name playing the "greatest star of all", including Patti Lupone, Glenn Close, Elaine Paige and Petula Clark. Like I said, this production had Ria Jones in the role - and she was phenomenal.

It is a very complex role to play, and must be a joy for any actress to sink their teeth into. Norma is incredibly desperate to get back in front of a camera, to much so she goes to pretty incredible lengths to control/manipulate Joe to her advantage. In a strange way, it is similar to Loki  - not that she has suddenly become a Goddess of Mischief (as interesting to see as it may be), but that while her actions are no way excusable, they are understandable. While her character may be completely delusional, you cannot deny that Jones gave in the performance of her life. The original Norma (in a way), as she did the original Sydmonton Festival production in 1991 (along with Michael Ball and Frances Ruffelle), Jones has been waiting a long time to play the role properly - and it was definitely worth the wait - especially for those who didn't get to see her understudy Glenn Close in the recent London revival. I first heard her in the West End Women concert alongside Kerry Ellis and Joanna Ampil, and when she sang she Sunset numbers, I remember saying to myself, "Ok, if she plays Norma, I may be interested". Three years later, and here we are.

Joining her playing Joe was last year's Strictly Come Dancing runner-up, Danny Mac, giving one of the most surprising performances of the year. It may not be the first time I have seen Mac on stage, but Joe Gillis is a completely different part to Legally Blonde's Warner Huntington III. Joe is the narrator of the story, the real-main character you could say, and he's the one in the story who we
follow and relate to. Mac plays the doomed screenwriter with so much charisma and so much heart. Your heart goes out to him when you see him falling for Norma's guilt-tripping once she realises she can use; him to revive her career, you cheer for him when he and Betty Shaefer finish her first ever script and for the love declaration following shortly after. I was quite frankly incredibly surprised by him.
Oh, plus, I decided to go to stage door afterwards and get my programme signed by Jones and Mac. I felt it would make up for the fact I was late =P

I have already mentioned Molly Lynch's Betty, who catches Joe's eye, but there is one more person to whom I'd like to make a quick mention, and that is Adam Pearce as Norma's butler, Max Von Mayerling; along with incredibly deep, booming and rich bass-baritone.

The score, I must say, is one of the biggest things people say about this musical, and, I admit it is incredibly rich. The production boasts a 16 piece orchestra - and while that may be rather small for an orchestra, it is rather a big deal for pits these days, which mostly consist of the essential guitar, drums, a form of horn etc. They don't often do them as full out and rich as this anymore, so it was

nice to hear something different.
Plus, it was necessary for a show as big and grand as this, with a set Paramount studios always as a conscious backdrop, seamlessly going from Norma's mansion to a diner to a real set the next.

The Manchester run ends this Saturday 4th November, so if you like the sound of this, go for it! But be prepared for an emotional run - I think this sits in-between Les Mis and Miss Saigon in terms of........  not-going-well scenarios shall we say. So bring tissues perhaps. If that doesn't turn you off, best get ready for your close-up.

To end this, see the picture with Joe Gillis himself, Mr Danny Mac, that I took at stage door - such a lovely guy =D