Musical Theatre / Sunset Boulevard, Opera Australia & GWB Entertainment. At Sydney Opera House until November 1. Reviewed by BILL STEPHENS.

The atmosphere was electric as glammed-up guests arrived at the Sydney Opera House for the Sydney premiere of Andrew Lloyd Webber’s Sunset Boulevard starring Webber’s ex-wife, Sarah Brightman. 

Brightman had received mixed reviews for her performance in Melbourne. An injury causing her to miss performances during the run resulted in a flood of social media comments from disgruntled patrons unhappy at not being given prior notification of her non-appearances. Factors that created doubt as to whether she would actually be onstage for the Sydney opening.

The thunderous ovation she received on her first entrance was no doubt as much an expression of relief that she was actually present, as it was a sincere welcome.

Although Brightman originated the role of Christine Daae in Phantom of the Opera on both the West End and Broadway it was a role especially written for her by Lloyd Webber to showcase her unique ethereal soprano voice.

Brightman’s fame as the world’s best-selling soprano is more the result of her subsequent career as a recording and concert artist, than as a musical theatre performer.

Her choice of this particular role for only her second Lloyd-Webber musical in 30 years, invests this production with an intriguing sense life imitating art déjà vu, that many musical theatre aficionados will find irresistible.

Norma Desmond is a tour de force role usually performed by musical theatre leading ladies of different voice types and dramatic abilities to Brightman’s. Until this production, Brightman had never performed this role.

When she launches into her interpretation of With One Look, especially on the stage of the Sydney Opera House, the result comes as something of a surprise to those used to experiencing the world’s finest operatic sopranos on that very stage.

Brightman’s soprano is pretty rather than dramatic. She’s a performer more than an actress. Her skill is interpreting songs, not necessarily within a context, utilising a variety of idiosyncratic vocal techniques to embellish the lyrics so that they sound beautiful though not necessarily comprehensible.

Unfortunately, this creates a bit of a worry in situations where it is important to understand the lyrics for the information they contain to make sense of the storyline.

But this is Brightman’s version of Norma Desmond. It’s the one that’s attracted Brightman admirers happy to pay opera house prices for the intriguing prospect of seeing her tackle this demanding role. On those criteria, it is not without merit.

From the moment Joe Gillis confronts Norma Desmond in her luxurious, crumbling mansion, Brightman makes obvious that Norma is already mentally unwell and delusional. Her Norma is needy rather than commanding.

Brightman’s interpretation of Norma’s response to Joe’s callous treatment of her after she has lavished him with gifts;  is to resort to self-harm when her attempts at seduction fail, then finally death threats when all else fails. Both are valid and ultimately moving. Her vocal highlight comes with the superbly staged, As If We Never Said Goodbye, where her aging voice provides a layer of pathos to the song which is quite moving.

Brightman is showcased in a spectacularly conceived production, performed by a cast of some of the country’s best musical theatre artists, led by Tim Draxl who gives a commanding performance as the down-on-his-luck screenwriter, Joe Gillis, who comes unstuck when he falls in love with his colleague, Betty Schaefer, stylishly performed by Ashleigh Rubenach.

Although some might have wished for a little more charm in his characterisation, Draxl deservedly stops the show with his blistering rendition the title song; then again later when he is joined by Rubenach for a delightfully giddy staging of the duet, Too Much In Love To Care, during which both proved themselves much more than competent dancers.

Robert Grubb invests his role as the mysterious man-servant Max Von Mayerling, with an affecting sense of dignity, while Paul Hanlon as Cecil B DeMille, Troy Sussman as Sheldrake and Jarrod Draper as Artie Green, all make the most of the opportunities inherent in their roles.

An outstanding feature of this production is the inventive choreography of Ashley Wallen. Although quite different to Fosse, Wallen’s choreography is riddled with clever signature moves which comment on the action, exemplified in his inventive staging of The Lady’s Paying. Throughout the show, it is brilliantly executed with precision and attention to choreographic detail by the large ensemble.

Atmospheric projections by George Reeve enhance Morgan Large’s lavish set and costumes, superbly lit by Mark Henderson to capture the glamour and extravagance of  ’50s Hollywood; while the icing on the cake was the pleasure of hearing Lloyd Webber’s stunning score performed in superb Cinerama sound by the Opera Australia orchestra directed by Paul Christ. Indeed, many of the audience sat on in the theatre following the thunderous finale ovations to luxuriate in the generous play-out music.