Review: Sunset Boulevard: The Backstage Cut at Perth Theatre Lacks Purpose Despite Strong Performances
This review critiques Morag Fullarton’s stage adaptation of Billy Wilder’s classic 1950 film, Sunset Boulevard, currently running at Perth Theatre. Fullarton, known for her compact Hollywood adaptations, reunites the four-person cast from her 2015 Glasgow production, adding twenty minutes of material and a more elaborate main-stage design. The production features Juliet Cadzow as the faded silent film star Norma Desmond, John Kielty as the struggling screenwriter Joe Gillis, Frances Thorburn as Betty Schaefer, and Mark McDonnell as the butler Max. While the performances are praised for their mimicry and affection for the source material, and Fraser Lappin’s set effectively captures the opulence of Desmond’s world, the reviewer argues the play lacks artistic purpose. Framed by a brief pre-shoot discussion, the adaptation is described as a faithful but pointless rendition that fails to offer new commentary, parody, or reimagining. Ultimately, the review concludes that the stage version cannot compete with the superior impact of the original film, offering little beyond technical competence and nostalgic appreciation.
Wire timeline
Review: Sunset Boulevard: The Backstage Cut at Perth Theatre Lacks Purpose Despite Strong Performances
This review critiques Morag Fullarton’s stage adaptation of Billy Wilder’s classic 1950 film, Sunset Boulevard, currently running at Perth Theatre. Fullarton, known for her compact Hollywood adaptations, reunites the four-person cast from her 2015 Glasgow production, adding twenty minutes of material and a more elaborate main-stage design. The production features Juliet Cadzow as the faded silent film star Norma Desmond, John Kielty as the struggling screenwriter Joe Gillis, Frances Thorburn as Betty Schaefer, and Mark McDonnell as the butler Max. While the performances are praised for their mimicry and affection for the source material, and Fraser Lappin’s set effectively captures the opulence of Desmond’s world, the reviewer argues the play lacks artistic purpose. Framed by a brief pre-shoot discussion, the adaptation is described as a faithful but pointless rendition that fails to offer new commentary, parody, or reimagining. Ultimately, the review concludes that the stage version cannot compete with the superior impact of the original film, offering little beyond technical competence and nostalgic appreciation.
The Guardian