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Kelsey Andres (center) and Tyler Sawyer Smith (far right) return to TLP's stage in "Sunset Boulevard." (Photo provided)

By Bill Beard
Theater Critic

The magnificent program cover for Timber Lake Playhouse’s (TLP) VIP Opening Night is very revealing. It lists each of their 50 seasons of theater productions, usually a marvelous variety of at least six shows per season; and I will emphasize their concept of “variety.” With a broad range of genres: musicals, comedies, mysteries, drama, adventure, even classics, this “little theater in the woods” has taken on the full scope of theater entertainment. This 50th Anniversary Season is no exception; they have added a seventh show, and indeed are offering a variety!

Somehow, Artistic Director James Beaudry was able to secure the professional production rights to the London (1993) and New York (1994) musical hit Sunset Boulevard (one of the few regional theaters to get them); and he has found the perfect performers for the lead roles. One of Andrew Lloyd Webber’s originally successful musicals, Sunset Boulevard has not sustained great popularity, even though it starred some of the biggest names in show business; e.g., Patti LuPone (London) and Glenn Close (New York).

Based on the legendary 1950 film starring William Holden and Gloria Swanson, the plot revolves around the fading silent-screen mega-star Norma Desmond (played so beautifully in the film by Ms. Swanson). Now, 20 years later (the play takes place in the 1950s), living in her decaying mansion on Los Angeles’ fabled street, she dreams of returning to the Tinseltown world that discarded her when the “talkies” took over.

Into this dark, almost ghostly situation, hiding from re-po agents, happens a young, out-of-work screen-writer-come-hustler named Joe Gillis (the William Holden role in the film), who is drawn into Norma’s web. She induces him to write the screen play for her come-back movie, “Salome”; which she is positive Mr. Cecil B. DeMille will be thrilled to produce, starring her as the 16-year-old temptress, of course. Joe plays along, trying to maintain self-respect, but sinking in quicksand. Their relationship gives him sanctuary and sustenance, while it gives her hope; hope for the rejuvenation of her career, as well as her lost love life.

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Joe Gillis (Brandon Ford) and Norma Desmond (Katherine Condit). (Photo provided)

This show absolutely requires the right actress to play Norma Desmond. Luckily, Director Beaudry found her! Katherine L. Condit has credits including Broadway, Europe, Canada, national tours, and most of Chicago’s better theaters. But in my opinion, she was born to play this role. Her amazing voice, with the most expansive and controlled belting range I’ve ever heard, gives the role the power and gravitas required to play this once-brilliant, now self-deluded star. She is indeed assisted by the magnificently impressive steel and stucco mansion Set Designer Amanda Sweger has provided (and which the crew and cast move about with slick and smooth choreography), the lighting by Michael Stanfill, and certainly by the gorgeous costumes by Tate Ellis and Katy Freeman.

But this is Ms. Condit’s Norma Desmond, every movement, every pose, every gesture, every facial expression. I found only one flaw. The audience needs to be ever so gently reminded that as her dream world grows stronger, so does her move into the fantasy of mental delusion. It felt almost as though Ms. Condit was afraid to appear to be “over the top.” Her final pose and line simply did not reach the appropriate level. But it must go there; Norma Desmond is delusional, and Ms. Condit’s honesty and conviction will keep her within believability. I’m sure this actress will find that moment, and she will be the consummate Norma Desmond. She is already brilliant.

Chicago’s Brandon Ford, guest performer for the summer, is a welcome return to Timber Lake (summer 2008). His extensive work with the Chicago Shakespeare Theatre gives him the strength and talent to balance Ms. Condit’s performance, never overstepping, but maintaining the right equilibrium throughout. He is equally believable in his relationships within the ensemble scenes at the movie studio and Schwab’s Drug Store. He is consistently convincing and credible.

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Norma Desmond (Condit) watches a silent movie with screenwriter Joe Gillis (Ford). (Photo provided)

Outstanding work by an excellent support cast includes the beautiful singing voice of Colleen Johnson as Betty Schaefer, Joe’s fellow writer and developing love interest; and the always flawless John Chase as Max Von Mayerling, Norma’s mysterious Butler-come-Keeper, always in the shadows, but always in control, and, as we learn, her “first” husband, who has been her loving serving man forever. Max has only one solo, but it was wonderful to have this superb actor’s lovely voice to do it justice.

OK! I confess I went out and rented the original movie. I wanted to confirm that the script of this musical really does stick very close to the screenplay. It does, indeed. Unfortunately, it also made me intensely aware of the problems with the musical format. It’s really too bad musicals seem to demand large choruses, consisting in this case of the busy populace of Paramount Studios: writers, technicians, extras, etc. In the original Billy Wilder film, there are only a few ensemble scenes, and they are a sort of cheerful diversion from the almost film noir mood of Norma’s decaying mansion, but still compatible with the story.

But here, since TLP must use their ensemble of young, highly energetic performers, those scenes seem completely divorced from the main body of the performance. It comes off a bit adolescent, a bit “Mickey and Judy do a show in the barn”-ish; perhaps partially because the costumes for those scenes seemed more appropriate for Grease or Bye Bye Birdie. Also, regrettably, Don Black and Christopher Hampton’s lyrics for the ensemble numbers are even more juvenile, filled with cliches, and in stilted tempos. This cast sings fine! It’s the material that is the problem.

In fact, although Andrew Lloyd Webber’s music here is sometimes reminiscent of other shows, only a few songs stand out, and it’s Ms. Condit’s superb voice that makes them memorable: “With One Look,” “As If We Never Said Goodbye” and the leitmotif of the show, “New Ways To Dream.” Unfortunately, the title song, “Sunset Boulevard,” is terrible; especially when everyone seems to over-emphasize the “bull” of Boulevard. Might as well have a good stamp of the foot on that syllable, too.

In spite of these few critical words, believe me, Katherine Condit makes it all worth while!

Kudos are definitely in order to TLP and Mr. Beaudry, for bringing this show to beautiful Timber Lake. You will rarely have the chance to see this one, so be sure to get out there this weekend. It closes Sunday, June 12. Call the box office at (815) 244-2035 or go to timberlakeplayhouse.org ^[4].

From the June 8-14, 2011 issue