It’s been two days since I saw Opera Australia and GWB Entertainment’s production of Sunset Boulevard, and I’m still conflicted on whether or not I enjoyed it. But, in retrospect, I would like to see it again, and I suppose that’s the greatest compliment of all.

The story follows Joe Gillis (Tim Draxl) who, while running away from debt collectors, ends up at 10086 Sunset Boulevard, the home of faded star, Norma Desmond (Sarah Brightman). Desiring a return to Hollywood, she employs the struggling screenwriter to work on her comeback script.

The weirdest comparisons I can give is to The Rocky Horror Picture Show, Beauty and the Beast or Dracula, where a protagonist seeks shelter in a mysterious mansion, meets an opposing figure, and gets seduced (either willingly or not) into their madness. I’m unsure if it is intended to make Norma out to be some kind of monster, but I couldn’t shake that feeling throughout. Seeing as it is a retelling of the 1950 Billy Wilder directed film of the same name, Sunset Boulevard was written during a different time where mental health was misunderstood and villainized.

I suppose that would be apt considering the ending, but Norma herself is also a victim and Joe isn’t exactly a saint either. It’s that juxtaposition that I find so fascinating. But those viewing it at surface level may find it frustrating.

As director Paul Warwick Griffin says in the programme, Sunset Boulevard “explores duality: light versus shadow, fame versus obscurity, illusion versus reality.” It’s also a story about manipulation, abuse and control, and the ending completely enhanced the musical for me, with Norma falling completely into madness.

I have seen criticisms of Brightman being miscast and, additionally, a kindly usher told me that Silvie Paladino (who plays Desmond at certain performances) has better dictation and is more suited to the role. I can’t speak from personal experience but there is no denying Brightman’s incredible vocals and commanding stage presence. I think she’s its biggest draw card.

Draxl is equally, if not more so, impressive, giving a show-stealing performance. His rendition of Sunset Boulevard is breathtaking and a highlight. As a long time fan, it’s wonderful seeing him take the lead in such a big production and I hope to see him in equally large roles in the future.

Supporting actors also shine in their respected roles, as does the talented ensemble. While I suspected Max von Mayerling to a cliched butler and chauffeur, Robert Grubb brings dimension through tiny unspoken nuances and its easy to emphasise with his character’s choices.

Ashleigh Rubenach is a delight as Gillis’ ever-so-sweet love interest and writing partner, Betty Schaefer. Jarrod Draper’s Artie Greene is the right mix of bright and charismatic but also highly underutilised. Paul Hanlon gives a wonderful performance as Cecil B. DeMille.

Morgan Large’s costumes are gorgeous, especially Norma’s sequined gowns. Draxl also gets a glow up, switching out of drab beige to glam tuxedo during The Lady’s Paying. I’m personally shocked that this song was cut from the 2023 West End and 2024 Broadway productions as its one of the show’s most entertaining numbers, even if it does feel plucked from a different show.

Large is also responsible for the set design, which is rich in scale, depth and texture. Simple designs are often underwhelming but here it was most impressive. Along with George Reeve’s projection design, no expense has been spared and that’s fitting for Norma’s gothic lifestyle.

Projections are most effectively used during the car chase scene, where beauty shots mirror the classic black and white films of old. Equally, when rain is later projected onto hand painted lace curtains (which are also used to transition between scenes), helping set a melancholy tone.

The only jarring decision is the projection of the car as Norma, Joe and Max arrive at Paramount Studios. It looks cheap and amateurish in comparison to productions otherwise high quality.

Colour also plays a large role in Sunset Boulevard. Norma’s world, although glamorous, is very monochromatic.And, like I mentioned before, thematically, Joe dressing in a black and white tuxedo is him becoming a part of her world, where previously it has been filled with colour.

Arguably, I think Sunset Boulevard is one of Andrew Lloyd Webber’s strongest works, and it’s sad that this production has received so much criticism. Yes, there were times where I completely spaced out when I wasn’t able to make out Brightman’s lyrics, which, for a musical like this, is not ideal, but there is still a lot to like here – notably, the visuals, sound, costume, design, choreography and chemistry between Draxl and Rubenach.

Sunset Boulevard is a melancholier offering of theatre than Melbourne has seen of late. I’m unsure how it’ll do alongside heavy hitters, especially Wicked, but I welcome something different. I’ll see you in the theatre when I go see it again a second (and then third) time.

Tickets and further information can be found at sunsetmusical.com.au.