All the songs in 'Sunset Boulevard' on Broadway
Nicole Scherzinger stars in the latest revival of the Andrew Lloyd Webber musical, adapted from the classic Billy Wilder film about a fading movie star.
The new Broadway revival of Sunset Boulevard is bringing a stark, expressionist style to Andrew Lloyd Webber’s beloved musical, but all the show’s iconic songs sound as lush and gorgeous as ever before.
Following a critically acclaimed run in London’s West End, buzzy British director Jamie Lloyd’s bold reimagining of Webber’s 1993 show, featuring book and lyrics by Don Black and Christopher Hampton, arrives in New York. The production is led by former Pussycat Doll Nicole Scherzinger as fading film icon Norma Desmond.
Take a close-up look at all the musical numbers that make up Webber’s sung-through epic, playing at the St. James Theatre. Spoilers ahead!
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“Overture/Prologue”
Following a sumptuous overture, screenwriter Joe Gillis sets the scene. The year: 1950. The place: Sunset Boulevard, Los Angeles. At 5 a.m., “a homicide had been reported,” and Joe tells us “an old time movie star is involved.” But before Hollywood fictions take over, he asks us to let him tell the full tale.
Sixth months earlier, Joe's career was struggling, and he was desperate and down on his luck. A meeting at Paramount was his last chance to stay afloat.
“Let’s Have Lunch”
Arriving on the Paramount lot, Joe hobnobs with fellow struggling actors, directors and agents. When the Paramount executive rejects Joe’s latest pitch, he begs the producer for any kind of work, or, failing that, a loan of $300, but is sent packing.
“Every Movie’s A Circus”
Betty Schaefer, a young script editor, encourages Joe to consider pitching one of his short stories. He insists producers only want “trash with fairy lights.” She helps Joe evade two agents looking to repossess his car.
This song was added in the show’s first Los Angeles staging, which followed its London world premiere in 1993 and allowed for creative reworking before Sunset Boulevard first came to Broadway in 1994.
“Car Chase”
Pursued by the agents, Joe pulls into the huge, empty garage of a run-down mansion on Sunset Boulevard.
Sunset Boulevard is the name of a real street that runs through Los Angeles, a 22-mile stretch famous for its famous landmarks and known, in some sections, for its wild nightlife.
“At The House On Sunset”
Joe marvels at the vast palace he has stumbled upon: “Like an abandoned movie set.” Mistaken for an undertaker hired to bury a pet monkey, Joe is ushered in by Norma Desmond and her loyal butler, Max von Mayerling.
Legendary diva Patti LuPone played Norma in the show’s West End premiere. However, Glenn Close replaced her for the show’s Broadway transfer, a change that generated widespread tabloid attention.
“Surrender”
Gliding past Joe, Norma sings a soft, mournful farewell to her fallen pet. Joe recognizes Norma, blurting out: “You used to be in pictures — you used to be big!” Norma’s quick retort: “I am big — it’s the pictures that got small!”
Norma’s legendary introduction is drawn directly from Charles Brackett and Billy Wilder screenplay for Sunset Boulevard, Wilder’s 1950 film on which the musical is based.
“With One Look”
Norma reminds Joe of the power a face on the screen once held, and which she insists she still possesses: “Just one look sets the screen aflame.” A return to her Hollywood glory days, Norma declares, is just around the corner.
“Salome”
Norma enlists Joe to help rewrite her comeback film, Salome. She plans to star as the 16 year-old title character and even claims it will be directed by legendary producer Cecil B. DeMille.
Joe mocks Norma’s overlong script in asides, but takes the job out of desperation. Norma insists that Joe live and sleep in her decaying home until the work is complete.
“The Greatest Star Of All”
As Max shows Joe to his room above the garage, he rebuffs a joke at Norma’s expense, singing adoringly of his mistress: “She’s the greatest star of all.”
“Every Movie’s A Circus (Reprise)”
Joe meets with Betty but declines to collaborate with her on a new screenplay, insisting he is “all tied up.”
“Boy Meets Girl”
Joe rattles off some “ground rules” to help Betty get started: girl meets boy, lots of conflict, the best friend dies, the hero survives. She begs him to not leave real writing behind: “Don’t give up — you’re too good.”
“Back At The House On Sunset”
Joe returns to find Max has moved all of his possessions into the home. He becomes a prisoner in Norma’s palace as the rewrites drag on. The overbearing star rejects every cut that would reduce her screen time: “What else would they have come for?”
“New Ways To Dream”
Norma mournfully recalls her glory days in Hollywood, and insists: “Nothing has changed; we’ll give the world new ways to dream.” Joe begins to realize the depth of Norma’s delusions.
“Completion Of The Script”
Guided by horoscopes and her astrologer, Norma decides the time is right to deliver her script to DeMille. But when Joe attempts to leave, Norma immediately breaks down at the thought. The script is on its way to Paramount, but Joe remains a prisoner.
“The Lady’s Paying”
Norma lavishes Joe with gifts and expensive new clothes, insisting he look his best at her New Year’s Party. Joe tries to tell Norma he’s been invited somewhere else for New Year’s Eve, but she won’t hear of it.
“New Year’s Eve”
New Year’s Eve arrives, but Joe quickly realizes the only guests at the party are Norma and himself. He grows more uncomfortable after Norma gifts him a solid gold cigarette case engraved with the words: “Mad About The Boy.”
“The Perfect Year”
Norma goads Joe into dancing with her and confesses her undying love: “We don’t need a crowded ballroom; everything we want is here.” Joe attempts to reject her kindly, but a devastated Norma slaps him and runs out.
“This Time Next Year”
Joe leaves the mansion and heads to his friend Artie’s New Year’s party. He asks Artie to put him up for the next few weeks and calls Max to send over his things. Max informs him a distraught Norma slit her wrists.
“New Year’s Eve (Back To The House On Sunset)”
Joe returns to Norma’s home, where she is recovering. After she threatens to harm herself again if he leaves her for good, Joe agrees to stay. Offering himself to Norma, Joe kisses her to conclude Act 1.
“Sunset Boulevard”
As Act 2 begins, Joe is now a kept man in Norma’s newly luxurious mansion — but he admits he is waiting for the right moment to leave: “You think I’ve sold out. Damn right I’ve sold out; I just keep waiting for the right offer.” He will remain, enjoying the benefits and keeping Norma stable, but knows it can’t last: “One day this must end, it isn’t real. Still I’ll enjoy a hearty meal.”
In Lloyd's 2023 West End staging, actor Tom Francis, who plays Joe, began this number from the street outside the Savoy Theatre, followed by cameras that beam his image live into the venue. Time will tell if Lloyd does the same in the Broadway production.
“There’s Been A Call/Journey To Paramount”
Norma excitedly informs Joe that an assistant at Paramount called about her script; however, she insists they wait until DeMille himself asks Norma to come in.
Three days later, Norma is ready and they head onto the Paramount lot. She talks her way past the guards and into a meeting with DeMille, who greets her kindly.
“As If We Never Said Goodbye”
Being back on a film set overwhelms Norma, who tearfully takes in the magic of the moviemaking process and old faces welcoming her back: “The world waited long enough/I’ve come home at last.”
The best-known number from the Sunset score, "As If We Never Said Goodbye" has been recorded by Elaine Page and Barbra Streisand and is regarded by some as the greatest song Webber has ever written.
“Paramount Conversations/Surrender”
Joe stumbles across Betty, who asks where he has disappeared to. Joe is evasive but insists they will write together eventually: “I won’t let you down.”
Max learns that the studio has been calling in hopes of purchasing Norma’s car, not due to interest in her script. DeMille ushers Norma out politely, suggesting he’ll be in touch about Salome. He mournfully confides in an assistant: “She’s never known the meaning of surrender.”
“Girl Meets Boy (Reprise)”
Joe and Betty excitedly brainstorm ideas for their screenplay. The two flirt happily, but he is cagey about his relationship with Norma.
“Eternal Youth Is Worth A Little Suffering”
More deluded than ever, Norma now believes filming on Salome will begin shortly. A cadre of beauticians, astrologers and analysts gather to prepare Norma for her return to the screen.
“Who’s Betty Schaefer?”
Norma finds Joe and Betty’s screenplay and demands to know what is happening between him and Betty. When Joe avoids her question, Norma confesses that she considered shooting herself with her revolver the night before when Joe went out for a walk. Joe reassures her: “I haven’t done anything.”
Admitting to the audience that he should have stayed in the house that night, Joe instead leaves to see Betty.
“Betty’s Office At Paramount”
Betty and Joe stroll the Paramount backlot, celebrating the completion of their script and growing closer.
“Too Much In Love To Care”
Betty’s fiancé, Artie, asks her to come out to Teneesse, where the two could be wed. Joe asks what is stopping her – crying, Betty proclaims Joe is, tearfully confessing: “I know it’s wrong, but I’m too much in love to care.” The two kiss and decide to run away together.
Returning to the mansion, Joe tells Max it’s time to stop feeding Norma lies. But Max insists Norma can never know the truth, saying his job is to keep her a star forever.
“New Ways To Dream (Reprise)”
Joe realizes Max is more than a butler — he was Norma’s former director and first husband. When the talkies ended her career, he stayed with Norma and took up this life: “So I play this game, keeper of the flame, sharing with her one last dream.”
“The Phone Call”
Norma calls Betty to tell her the truth of her partnership with Joe, hoping to destroy their relationship. Joe grabs the phone and instead tells Betty to come by and see for herself.
“The Final Scene”
Realizing their relationship is doomed, Joe is cruel and dismissive to Betty when she arrives, insisting he is happy with Norma and that she should marry Artie. Distraught, Betty leaves. Then Joe tells Norma the truth: her movie will never be made, no one remembers her, and Max is the true author of all her fan mail. Norma produces her revolver and shoots Joe dead.
Completely detached from reality, Norma steps out in full costume and makeup to greet the arriving police and press, whom she believes are her adoring fans. Addressing Max as though he were DeMille, Norma happily proclaims as police close in: “And now, Mr. DeMille, I am ready for my close-up.”
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Photo credit: Sunset Boulevard in London. (Photos by Marc Brenner)
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