Bringing Hollywood to the Harbour: A chat with the ensemble of Sunset Boulevard
Sunset Boulevard tells the story of Norma Desmond, a forgotten silent film star, and her ill-fated relationship with a struggling screenwriter, Joe Gillis.
Set against the backdrop of 1950s Hollywood, the iconic musical explores themes of fame, obsession, and the dark side of the entertainment industry. With Andrew Lloyd Webber’s haunting score and a narrative that delves into the pitfalls of celebrity and the passage of time, the production promises to captivate audiences with its emotional depth and visual grandeur. Based on the Billy Wilder film, the show had its world premiere at London’s Adelphi Theatre on July 12th 1993. The show received its American premiere in December 1993 at the Shubert Theatre in Los Angeles starring Glenn Close as Norma Desmond. This new Australian production features stunning sets and costumes, evoking the glamorous Golden Age of Hollywood. The thrillingly atmospheric score features the hits “With One Look”, “The Perfect Year”, and the anthemic “As If We Never Said Goodbye”.
Tell us about your background in performing and how you got to where you are today.
Troy: Some of my earliest memories are being at rehearsals, when my father was performing in the amateur scene. Sitting there watching and learning, aching to jump up, so there was an inevitability of sorts. I began performing on stage as a 7-year-old in 1977 in a holiday season of Peter Pan as Michael, dressed in a Pyjama jump suit and carrying a teddy bear. For the next decade it was a mix of National Theatre Drama, Community and School theatre (Going to an all-boys school I played all the female roles), Pro Theatre, TV, and the start of what is now 40+ years of a body of work, including co-staring in Saturdee, a TV series based on the Norman Lindsey Novel and playing the Artful Dodger in Oliver, which unknown to me would be the start of a connection with the Cameron Mackintosh organisation, that would continue my whole career and start my journey working and learning and being mentored by the very best of performers. When I had completed school in 97, and after travelling, I auditioned for a last-minute recast for the original production of Les Miserables, and for the next 15 years, I almost had no breaks going from show to show to show. Les Mis was a significant piece in my work journey as I have done over 2100 performances, over three tours globally and within that have performed every male role (excluding Javert, Marius and Enjolras); the highlight being over 100 Thernardiers and 30 Val Jeans on London’s West End. A bit of luck and a lot of hard work to have started in the Halcion Days of Musical theatre, working on some of the world greatest shows with the world’s leading Performers, Directors, MD’s, creatives etc. This was my ‘On the Boards’ Education, as the only institutions, at the time, were VCA and NIDA acting courses. My learning curve was great and if not for the mentoring and leadership by many, I wouldn’t be the performer I am today. With many shows returning again, some a third time, there is something to hold close to be able to say you were in the Original Australian production, and then getting to welcome new actors to that family. Recently I was given the opportunity to do Phantom of the Opera again, after 30 years, a new version, but still with the essence of the Hal Prince production. Originally I was the youngest performer and a swing and covered 14 parts for 3 years. This time as the Auctioneer I could really see and own my growth as a performer and one of the elder statesmen of the industry. It is not lost on me that over my decades working I can have great insight into our legacy and history of theatre in our country and combine that with getting to work closely with the next generation. It is important we don’t lose our stories and recalling friends now gone, Guesty, Falzon, Hoggie, Robby T, I now try and pass on these stories and lessons I learned to younger performers today and really enjoy working with them and giving back.
Dean: I grew up in the Blue Mountains west of Sydney, went to a dance school in Warrimoo when I was eight, started doing community theatre with the Blue Mountains Music Society as a teen. Went to a creative arts high school in Plumpton in the western suburbs of Sydney but left school at the age of 16 to join a contemporary dance company called Darc Swan, followed by a four month adventure in a circus! Everything changed after I went to WAAPA to study Musical Theatre, when I was 21 years old, over in Perth, as it gave me the skills to start a professional career in the Australian musical theatre scene. Of all the musicals I have performed in my favourite will always be Priscilla Queen of the Desert, the most challenging Sweeney Todd (as Judge Turpin), the most rewarding Chicago, with a very honourable mention to Mr. Braithwaite in Billy Elliot. As a character actor who quite often performs the role of the villain or authority figure I have always been influenced by the late great Alan Rickman.
What is your favourite song or scene in the musical and why?
Troy: This answer might seem a little self-serving, but I really like “Let’s Do Lunch,” firstly because my first major scene is in it, which is the first dialogue scene in Sunset and helps establish Joe and Betty. Tim and Ashleigh are wonderfully playful and it’s a great start to my show and sets me up to having a great night. Secondly, each phase of it is exciting and we get to see an ensemble giving their all and building a world full characters and energies. It is a super contrast to the Film Noir style of the House and Norma scenes. Additionally, Ash Wallen’s heightened choreography is great (With just a hint of Kylie). My Favourites, outside my own bits are Tim Draxl’s performance of the Title song “Sunset Boulevard” and Robert ‘Grubby’ Grubbs, character work throughout. They are both so wonderfully nuanced and a masterclass in acting. I also must admit that Silvie Paladino and I were the babies in the Original Les Mis, I was 19 she was 18, so to share a stage with her again fills me with joy and pride and getting to stand and watch and listen to her version of “As If We Never Said Goodbye” is as awe inspiring as her “On My Own” was.
Lisa: My favourite song in the show is the opening number “Let’s Do Lunch”, the set is amazing, the choreography is exciting, there’s a lot of story telling going on and lots of different voices popping out through the melodies. Plus when we all join together at the end for the big chorus finish, it packs a real punch. I enjoy doing that every night!’
Dean: It’s hard to pick just one song or scene to be my favourite from Sunset Boulevard. “As If We Never Said Goodbye” was the first song I ever sang for a professional audition so it will always have a fond place in my heart. “The Lady’s Paying” is the song I sing in the show so I can’t deny it is selfishly one of my favourites. But my absolute favourite song from Sunset Boulevard is “The Greatest Star of All” which is sung by Max and performed by the wonderful Robert Grubb who I am very very lucky to be understudying in this production.
Leah: My favourite scene/song in Sunset Boulevard is “This Time Next Year” as we as the ensemble get to vocally and character-wise shine in little moments. We get to create a fun New Year’s party scene and in rehearsals we got to offer ideas of scene work in the background and our Director either kept the offer or asked for different scenarios. So because of that we really get to own the work we helped create.
How is Sunset different from previous shows you have been a part of?
Troy: It is rare to get a chance to create a new show from scratch in Australia, but this Sunset GWB and OA are producing, is a brand-new production. Often, here in Australia we are recreating an overseas production, which gives you limited opportunities to make it your own, and although you can imbue it with some choices, to get the opportunity to be the first one making decisions and have a creative expression is not common. Paul Warrick Griffin the Director, really encouraged us as artists to make offers and keep exploring the text and how these Paramount People interact with each other, thus bringing a full life to the Paramount lot world. I get to have a lot of fun with Sheldrake, as the head of the Studio, he has a hand in all decisions, and it gives me a wonderful scope of play. Having been around when Sunset first was presented in 96, and making to final round for Trevor Nunn, too now tick the box of doing this piece at home it remarkable. With age and longevity, I have been lucky to revisit works I have done, or do works I had missed out on, being too young or not experienced enough. Unlike most shows, sunset is very much a musical set in two worlds, Norma, Max and Joe, appear mostly in the House, and the rest of the company inhabit the Studio landscape, with small crossovers. Where often a musical has a happy ending or is uplifting and we see the best in the characters, Sunset is piece where we explore human flaws, ego, frailty, deceit, delusion and by the end (Spoiler Alert) death and carnage. So as actors we get to delve into our own feelings of all this. Personally certain writers cannon of work resonates with me, G&S, R&H, Scheonberg and Boublil, and Sir Andrew Lloyd Webber. I toured as part of the Music of ALW in the Masterpiece tour of China in 2001 right after the September 11 attack, and we were lucky to spend some close time with him, so to once again perform his music is wonderful.
Dean: Sunset is different from other productions that I’ve been a part of because it is a brand-new production here in Australia rather than a cookie cutter production that we’re getting from the West End or Broadway where you need to fit into a specific role created by someone else. It actually reminds me a lot of when we got to do a brand-new production of Love Never Dies here in Melbourne which coincidentally is also an Andrew Lloyd Webber musical. It’s so nice to be able to play and create and be a part of a new show from the ground up.
How do you keep your performance fresh and exciting for each show?
Troy: This is a most common question asked, and for me personally, because I started so young and in quite long runs, the 8 a week show run over years is most natural to me. It’s a learned skill like anything. How you prepare, what you need to do mentally and physically. How you maintain a performance level and consistency, while making small adjustments to keep it alive. Although as performers we are very much creatures of habit, I find myself, trying new things or looking at someone at a different place, or working on a technicality of a moment, I recall two of my favourite experiences that involve the Iconic Gary McDonald, when I was 13 he was my Fagin in Oliver, Fagin and Dodger have this wonderful symbiotic relationship, and we used to spend a lot of time just chatting about life and acting backstage and we as actors had a wonderful connection, this gave us an ability on stage to play and we would ad lib lots of silly things to each other in character for example, me being Jewish, he would turn to me and say, “Dodger don’t eat those sausages they are Pork”. I was then blessed to work with him again 25 years later on the Donmar Production of Guys and Dolls, where I also understudied him. To watch and learn again from a master comedic actor craftsman was a true joy and an education. He would try and perfect each joke or comedy moment always refining the technicality, the physicality or the delivery. On Aladdin, I worked with two of my best mates and brilliant performers Rob Tripolino and Adam Jon Fiorentino in a Trio, from day one of rehearsals until we finished, we were all on the same page, and although a global Disney production, we were given scope to play and create. So, we explored famous comedy trios and duos, we met an hour before every show, utilising all the skills I had learned from Gary, we played got our banter on, so by the time we hit the stage we were one act. The joy of creating with a trio like this makes 8 shows a week fly by and for 3 years was an honour and a privilege. Long runs are not everyone’s cup of tea but having done many of them over my time and often back to back, I really enjoy them. I think the difference for me over time is also striving for more balance outside work, which makes work less stressed and more fun. When I was young, my shows consumed my every moment. Over later years I helped create and develop a successful business, explored my love of food and cooking, and now have a family and a promisingly creative 3 years old.
Lisa: Well every night, after the opening number, a small group of us do a crossword puzzle… one per performance. I look forward to it every show!!! These moments are what keep the ground hog day feeling away… the social and silly parts of being an adult dressed up in costumes, singing and dancing for a living are what make it fun, we are all very funny back stage! But to actually answer the question, on stage, I try to stay in the moment every scene, I don’t like to let my mind wander, I like to stay focused on what I’m doing, what my intention is, what story I’m telling. I like listening and finding new things in my and other peoples performances. That’s how it stays fresh, besides the backstage shenanigans! Plus, I love what I do, so it never feels stale!
How do you balance the physical and emotional demands of performing?
Lisa: That is tricky when you have two 15 year old kids living at home with Dad, who is trying to hold the fort while you are interstate touring for long periods of time….. I get home sick, and I miss my family. I try to fly home as much as my schedule allows. I go to the gym to keep my body physicality in check (and my mental health. I’m pretty good at not taking the emotional load of the show home with me….my “off switch” is well tuned.
Dean: I think the most important thing for me is to be vocally and physically warm before I even get to work when it comes to preventing any sort of physical or vocal damage. That is something that I have only started doing in my later years and I guess that’s because when you get older your body gets sorer a lot easier. Emotionally I find having a support network to talk to is my way of getting through a week of shows. My biggest rock is my husband who is always there to listen to any problems that I have.
Leah: With a family now it’s been different to earlier in my career. To be honest I’m not sure if I’ve mastered it but I’m lucky that my track in this show isn’t too demanding of my energy so I’m able to really enjoy family time on my day off instead of just having to rest. Other than generally taking care of myself heath wise with food and exercise I think it’s important to fill your cup with nature adventures and social catch ups with good friends. All this together I think ensures longevity of spirit and body for a long show contract.
How do you prepare for your role before each performance?
Lisa: I warm up physically (I need my blood pumping, breath puffing and my muscles firing before I can sing or dance!) Then I do a vocal warm, practise any songs, chorey or scenes I need to go through to get into show made. I drink lots of water and then, sometimes (on opening nights etc.) I will sit with my eyes closed and run my whole show in my head. I have just found over the years it keeps me focused, calms my nerves and gives me a sense of readiness.
Leah: I prepare for each performance by doing a good warm up of the body and voice as I’m no longer a spring chicken. I also enjoy a good catchup chat with the ladies in the dressing room whilst we put on our makeup and do our pin curls. And then right before beginners I will go over any parts of the show I find particularly challenging quickly or just to check it’s all available when I get to stage.
What has been the most exciting part about working on Sunset Boulevard?
Leah: The most exciting part has been working with a lovely company where we have cast members of a vast range of experience in the industry and it’s wonderful to hear stories of everyone’s careers and share fun times onstage and off with each other.
Sunset Boulevard opens at the Sydney Opera House from August 28th.
For tickets and more information, visit sunsetmusical.com.au
Header photo by Daniel Boud
