Sunset Boulevard

Scan the reviews of Sunset Boulevard and you’ll see some common threads. The leading lady gives a star turn but the lyrics are klunky and there was no point adapting the film for the stage. Sondheim declined a chance to adapt after Wilder said the film could only work as an opera. The current revival has been praised for scrapping the giant sets but something else is missing. What exactly? Let’s take a closer look at the libretto.

What is the story about?

May-December romance? The dark side of Hollywood? The horrors of age, death and time? The horrors of being trapped in a big house with a crazy lady?

The characters pursue big dreams and destroy themselves in the process. This lends itself to the musical form. At the same time the characters are static. This does not. Their fatal flaws lie in their denial. Norma isn’t hustling to be a star. She believes she is one. Joe isn’t hustling to be a better writer. He believes the folks rejecting his work are fools and jerks. Halfway through act one the career arc fades. The action shifts to Joe’s attempts to escape the house and Norma’s attempts to keep him there.

Who is the protagonist?

The music thinks Norma is. She gets the “I want” songs (With One Look, The Perfect Year), the “I am” songs (With One Look again, New Ways to Dream) and the “celebration” song when she thinks she’s achieved her goal (As If We Never Said Goodbye).

The plot thinks Joe is. We follow his journey and everything is seen through his eyes. He leaves the house frequently to pursue work at the studio and a relationship with Betty. Norma becomes his antagonist attempting to lure him back with money, threats and violence.

Sadly the score doesn’t have much use for Joe. He’s stuck with recitative and reactive duets. His only solo, Sunset Boulevard, has to serve as his “I want,” “I am,” “I’m becoming” song as well as a takedown of Hollywood culture. It’s more responsibility than the lyrics can handle. (“Beneath the tan the battle rages.”)

What’s missing?

For me it’s a consistent tone. Webber’s romantic score undercuts Wilder’s cynicism. The music buys into her delusion that she’s a dethroned queen. A tragic victim. Is she? Is it really so bad to be a wealthy retiree living in an L.A. mansion with a servant who worships her? A snarkier composer might have played up the contrast between her dreams and her reality. They might have given Joe something interesting to sing while they were at it.

Grey Gardens

The Fantasticks, Into the Woods and Sunday in the Park with George are just a few musicals to make drastic changes in tone or setting between acts. It's a risky gamble that often invites audiences and critics to pick a side. When Grey Gardens transfered to Broadway in 2006 the critics hated act the original 1940's farce Act One. However they loved the second act which was based on the 1970's documentary, and bowed down to worship the star at the center: Christine Ebersole.

Watching this performance is the best argument I can think of for the survival of the American musical. ~ Ben Brantley, New York Times

When the show was revived in Sag Harbor in 2015 the praise went from a starring role to a supporting role played by Betty Buckley. They were still ambivalent about the show itself.

This summer Chicago's Goodman Theatre will premiere War Paint, a new musical by the same creative team. Once again the plot will focus on a feud between two real world figures (Helena Rubinstein and Elizabeth Arden) and once again there will be great star power (Christine Ebersole and Patti Lupone). Time will tell whether the book and score win as much praise as the featured divas.

Triumph of Love

“They came in a whirl of wanton words,

Those feckless and false young men.

They tore at my heart like hungry birds

and never came back again.

Serenity. Serenity. I never knew any then.”

Princess Leonide was a ruthless figure in 1732. The playwright, Pierre Marivaux, liked to tweak the commedia conventions. He’d place his lovers in farcial situations only to break their hearts. The 1997 musical softened Leonide with a song of remorse, and upstaged her by casting Betty Buckley as Hesione. Leonide’s seduction of the prince and his uncle were played for broad comedy while Hesione got songs of awakening love, self-discovery and heartbreak. Critics praised Buckley, panned the show, and left it to college campuses. A film in 2001 awakened some regional interest in the play but the story remains an acquired taste.  

Murder Mysteries: Drood

Last fall I led up to Halloween with a series of horror themed musicals. This fall I'll be looking at murder mysteries.

In 1976 Walter Kerr of the New York Times dismissed the genre saying:  "It's never worked. Reason: the music totally relaxes the suspense, and the suspense makes the music seem intrusive."

The successful musical mysteries, like Drood, tend to forgo suspense for comedy. Charles Dickens died before completing The Mystery of Edwin Drood. The suspects are introduced, Drood vanishes, a disguised detective appears and the story ends. Several authors and screenwriters have supplied answers over the years, though the one Dickens foreshadows isn't very interesting. Rupert Holmes shakes things up by letting the audience vote for the identity of the killer and the detective. The audience can then pair off two of the survivors as lovers.

Few of the 8 suspects have actual motives for killing Drood and Holmes acknowledges this. He's set us in the framing device of a music hall. Many of the actors admit they simply want to sing another song.

Carrie

If you've any interest in obscure musicals you'll want to read Ken Mandelbaum’s fantastic book Not Since Carrie: Forty Years of Broadway Musical Flops.

The original production suffered from the conflicting styles of the original artistic team who made it a strange mix of earnestness and camp. Carrie and her mother were staged for Greek Tragedy while the chorus of mean girls were staged for a revival of Grease. The show closed in five performances to jeers, catcalls and snarky reviews.

 "But when was the last time you saw a Broadway song and dance about the slaughtering of a pig? They've got one to open Act II of ''Carrie,'' and no expense has been spared in bringing the audience some of the loudest oinking this side of Old McDonald's Farm." ~ Frank Rich

The writers pulled the show from circulation and retooled it bringing a new Carrie to Off-Broadway in 2012. While that production received mixed responses the show is now available for schools and regional theaters to tackle.