Nicole Scherzinger absolutely bloody smashes it as Hollywood diva Norma Desmond in Andrew Lloyd Webber’s 1993 musical, dazzlingly reborn by director Jamie Lloyd. She brings not only an operatically powerful voice but shrewd comedy, harrowing pathos and a dancer’s physical precision to the washed-up silent star, besotted with young screenwriter Joe (newcomer Tom Francis, who is excellent).
It’s a physically and emotionally exposing performance. Barefoot in a clingy slip, Scherzinger is often either isolated on stage, writhing on the floor or has her sculpted bone structure and pleading eyes blown up on a huge, tilted screen. She’s not afraid to look absurd, or histrionic, and finds a new truth and even dignity in the character as a result.
Lloyd’s monochrome, dressed down production has no set but builds a cinematic atmosphere through spotlights and projected close-ups, with floating handheld cameras circling the action. It’s a tour de force of a show, in love with showbiz and the creation and destruction of illusions. The art deco glamour of the Savoy Theatre makes it the perfect setting. I’d say you should kill for a ticket, but Lloyd has ensured prices start at £21.
Lloyd Webber and co-writers Don Black and Christopher Hampton based this musical on Billy Wilder’s acrid 1950 noir comedy film, in which Gloria Swanson sent herself up sensationally. Early productions starred Patti LuPone and Glenn Close. There were mutterings that former Pussycat Doll Scherzinger, 47, was too young and lissom for the role. In fact, her Norma would’ve been born amid the first flowering of commercial film, had her silent heyday in her teens, and been in her 20s when the talkies arrived. Neat.
There’s sexual heat as well as neediness and delusion here between Norma and Francis’s handsome, shifty Joe. The older woman is haunted by her younger self (Hannah Yun Chamberlain) and their sensual dance together is a highlight of Fabian Aloise’s choreography. Betty, the would-be writer who falls for Joe, is played with attractive confidence and a bell-like soprano voice by another newcomer, Grace Hodgett Young. As well as being an alchemist who transforms familiar material, Lloyd is a hell of a talent spotter. The most experienced musical theatre performer here is David Thaxton, who is nonetheless much younger than his character, Norma’s anguished helpmeet, Max. More illusion.
I haven’t mentioned the score because previously I didn’t rate it much. But Lloyd adds pizzazz to the opening movie-business patter song Let’s Do Lunch and takes Joe backstage, then out onto the Strand, tracked live by the cameras, for the hectic title number, which opens the second act. This audacious bit of showing off had me clapping like a delighted child. Scherzinger’s full-throated, arms-outflung renditions of With One Look and New Ways to Dream drew deserved, show-stopping ovations on opening night.
You’ll have seen pictures on social media of Scherzinger drenched in gore at the curtain call. This moment is preceded by crime-scene flashguns before Norma begins her final reprise unaccompanied, in total darkness. It’s an ending of shocking intimacy. In one number, Max describes Norma as The Greatest Star of All. But right now in London theatre, I reckon it’s Scherzinger.
