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.

Rachael Lily Rosenbloom (And Don't You Ever Forget It!)

Tom Eyen would go on to write the libretto for Dreamgirls. Paul Jabara would go on to write the disco hits “Last Dance,” and “The Main Event,” and co-write “It’s Raining Men.” The actors (including Ellen Greene, Anita Morris, Andre De Shields, Kelly Bishop and Wayne Cliento)  would go on to hit shows and Tony Awards.

But on the night of December 1, 1973, they were playing a packed house at the 7^th preview and closing night for the disco musical Rachael Lily Rosenbloom (And Don’t You Ever Forget It!). The early closing secured it a place in flop history. The extra 'A' in "Rachael" is the one dropped from Barbra Streisand's name.

  

Frank Rich from the New York Times wrote:

“What followed was a musical fantasy of surpassing lavishness that made no sense, at any level, from beginning to end. The majority of the crowd fell into a sullen, open-mouthed stupor like that with which the audience greets the opening scenes of ''Springtime for Hitler,'' the fictitious Broadway flop within Mel Brooks's film ''The Producers.'' But no one walked out: ''Rachael Lily Rosenbloom'' became an existential test which everyone was determined to pass. The cast, many of whom were dressed in silver lame g-strings, attacked their tasks as if they were performing ''Guys and Dolls.''

Mack and Mabel

As with Fanny Brice, Gypsy Rose Lee and Maria Von Trapp, Mack Sennett and Mabel Normand have been preserved for future generations in a historically dubious musical. Legends say Mack and Mabel's glorious score was undercut by a gloomy book. There's a little more to it.

Mack and Mabel tells two competing stories. Mabel’s playing the tragic romance. She gets the best songs but most of her character growth happens off stage. Mack’s telling the story of his movie career. He gets 4-5 songs about his movies that start to sound alike. When people say glorious score they're right, but they're usually thinking more Time Heals Everything and less Hit 'Em On the Head.

There’s a large supporting cast with nothing to do because the book was cut to shreds during the out-of-town tryout. Gower Champion thought the key to the show were the re-enactments of Mack Sennet’s films but what’s lasted is Jerry Herman’s score. 

Goldilocks

Who’s been sitting in my chair? Just me. Just me.

By 1958 Elaine Stritch had sung a solo in the revue Angel in the Wings,  played featured roles in revivals of Pal Joey and On Your Toes, and understudied Ethel Merman in Call Me Madam. Goldilocks was to be her breakout starring role. There were some fun songs and a comic supporting role for Margaret Hamilton, but the book was a third-rate Kiss Me Kate. The show closed in 5 months.

Brooks Atkinson – New York Times - 1958

The book undoes what the actors and collaborating artists accomplish, which is a pity…

Miss Stritch can destroy life throughout the country with the twist she gives to the dialogue. She takes a wicked stance, purses her mouth thoughtfully and waits long enough to devastate the landscape.

Elaine Stritch on the dancing bear: “I think he was more or less the funniest guy I worked with - well, certainly in that show. I didn’t like any of the directors. I didn’t like - what else didn’t I like? The whole production.”

Noel Coward was impressed by her performance and offered her a role in his new musical. More on that tomorrow. 

Fade Out - Fade In

Fade Out Fade In was to be Carol Burnett’s second Broadway hit but pregnancy, a back injury and television stardom caused the show to open late and close early.

Chicago’s Porchlight Music Theatre just produced a fantastic concert reading of the show, revealing structural parallels to Carol’s other vehicle Once Upon a Mattress.

• Top of Act One: Carol barges into a gated community. (Shy / It’s Good to be Back)
• Mid Act One: Carol sings of her humble beginnings. (The Swamps of Home / The Usher from the Mezzanine).
• Top of Act Two: Carol sings a defiant ballad when the chips are down (Happily Ever After / Go Home Train)
• And then Carol disappears leaving her meek love interest (Prince / Nephew) to stand up to the antagonist (Queen / Studio Boss). 

In 2005 she graduated to the Queen in Mattress and someone finally wrote her a proper 11 o’clock number.