Sunset Boulevard, TADLOP, Oakengates Theatre, Telford - review

Don Black and Christopher Hampton's adaptation of the 1950 Billy Wilder film is not often licensed to amateur groups, but the rights holders sought out TADLOP director and president Robin Cooper to give his performers the chance to bring it to life.

It tells the story of down-on-his-luck screenwriter Joe Gillis, who stumbles into the home of one-time film star Norma Desmond. The latter, who has been out of the spotlight for years, is wrapped in a delusion that she is just as in demand as ever – "I am big, it's the pictures that got small!" – and is planning her next big project with a rambling, self-penned script.

Out of options and unable to afford scruples, Joe agrees to work with Norma on adapting her hopeless script and begins living at her expense in her mansion on the titular boulevard. The two embark on a strange and transactional partnership, and before long Joe struggles to keep his unusual work relationships and his chaotic personal life separate.

It is a sad and seedy tale, and was brought to life admirably by the assorted TADLOP members over a three-day run. When I saw the show a few sound issues meant the odd line was not picked up by microphones, but it was a minor frustration and never threatened to derail the production.

Playing the role of Joe was Rich Kee in his first leading performance, and he conveyed the writer's broken dreams and surly opportunism with aplomb. He remained likeable throughout, with an easygoing charm that belies his manipulation of Norma.

Deborah Owen, playing Norma herself, was one of the veteran performers in the production, having danced with TADLOP as an eight-year-old and worked in showbiz ever since. She was captivating as the deluded Norma, and put across both her desperate need to be adored and her undeniable talent as a performer.

Applause

Even as Norma descended deeper into her self-aggrandising fantasy, she stole the show with a few spellbinding singing performances that deserved the applause they garnered. My favourites included 'Surrender' and 'New Ways to Dream', the latter of which is an earnest celebration of the inspiring power of the movies.

Even Norma's stuffy butler Max von Mayerling, played solemnly by Cameron Walker, got a few tender moments in the form of solo songs, which are tinged with sadness and speak of years of self-sacrifice for his beloved "madam".

Rounding out the main cast was Samantha Hill, in her debut role with TADLOP, who played Joe's second love interest of the show, eager young writer Betty Schaefer. Though she can handle herself, Betty is the most sympathetic character and it is hard not to feel for her as she is drawn into Joe's world and caught in his deceptions.

The supporting cast was brilliant too, enthusiastically providing a living backdrop to the main drama between Joe and Norma. An ethereal but effective performance was that of Kerensa Osborne, who cut a ghostly figure as Norma's past self. On the many occasions Norma or the other characters reminisced about her 'good old days', Osborne strode serenely and wordlessly through the scene to provide a physical reminder of the former star's faded glamour. She didn't need any lines to play an imposing part in the show.

All of the performances were accompanied and enhanced by the Andrew Lloyd Webber score, played live by an excellent band that helped the whole production evoke the glitz and glamour of the golden age of Hollywood.

Another important part of the illusion was the costume design, which shone in the opulent scenes of Norma's mansion. The whole cast looked the part though, especially in the New Year's Eve party and the hustle and bustle of the busy film studio.

In all, Sunset Boulevard was an entertaining trip back in time and a fresh re-telling of a classic noir story. It might be some time before the show returns to Telford, but when it does I hope it is in the hands of a group as talented as the current iteration of TADLOP.