Sunset Boulevard (Silvie’s Version) (Sydney Opera House) ★★★★½

Music by Andrew Lloyd Webber. Book and Lyrics by Don Black & Christopher Hampton. Sydney Opera House. 28 Aug – 1 Nov, 2024.

I wanted to rewatch Opera Australia’s Sunset Boulevard again for two reasons. 1) It’s one of my favourite Andrew Lloyd Webber scores. I still have the hulking 2-CD set of the original cast recording. And 2) I wanted to see Silvie Paladino in the role of Norma Desmond. So I trundled down to the Opera House on a balmy autumnal Sydney night for another hit of old Hollywood.

For a full review of the show, check out my first review. This second trip, with different seats, made me really appreciate Morgan Large’s set. Yes, it creaks a bit as it moves into position, but the sheer size and grandeur of it all really gives you a sense of place and scale. When the set blends with George Reeve’s projections, and Mark Henderson’s lighting it takes on new dimensions. It’s really wonderful. I also really enjoyed noticing how subtly the characters moved into position and were revealed to the audience. Director Paul Warrick Griffin, and choreographer Ashley Wallen, do a great job at distracting and dazzling us while moving the pieces into place. 

Soaking in this score, played by the stunning orchestra, is just a joy.  And when the full ensemble sings, you feel it. After watching some obviously amplified shows, it was wonderful to be fully enveloped by the voices. I’m sure they are amplified as well, but the sound mixing and the quality of sound in the Joan Sutherland Theatre felt organic and warm. 

On the night in question an understudy (I believe it was Mary McCorry) was on in place of Ashleigh Rubenach in the role of Betty. She was excellent. A terrifically precise voice and real charm on stage. 

And of course, the role of Norma Desmond was played by Silvie Paladino. I’ve never seen Paladino live before, and my god… her voice. “With One Look” has never sounded better and the audience (about 80% full if you were wondering) was rapturous in their applause. Paladino’s performance hits the same beats as Sarah Brightman, but there is a more naturalistic tone. Her Norma feels less performative and more emotional. She knows when to camp it up and serve full Gloria Swanson. If you insist, then yes, I do believe she’s better in the role than Brightman is. If you’ve been nervous based on some of Brightman’s reviews then check the performance schedule and book for Paladino. You will not be disappointed.  

The good thing is that this production is totally worth a second viewing on its own (especially if you’re a musical theatre nerd, and I assume you are if you’re taking the time to read this). I’ve already booked to see the stark, modern Jamie Lloyd directed version on Broadway starring Nicole Scherzinger in a couple of weeks, so it’ll be great to compare these two very, very different takes.