Scherzinger, Nicole

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    In ‘Sunset Boulevard,’ Nicole Scherzinger Is 23 Feet Tall

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    A fascinating Broadway revival of the bombastic 1994 musical blows it up even further.Despite Norma Desmond, who famously declares in the film “Sunset Boulevard” that it’s not her but “the pictures that got small,” the opposite is true on Broadway these days. In musicals especially, video and projections have grown ever more dominant. Perhaps it is not so much an irony as an inevitability, then, that at the St. James Theater, where a revival of the musical based on “Sunset Boulevard” opened on Sunday, the pictures — live video streamed onto an LCD screen more than 23 feet tall — are so big they almost blot out the show below.But alas, only almost.For despite many fascinating interventions by the director Jamie Lloyd and his technical team, and the fact that it is based on one of the greatest of movies, the musical remains too silly for words. In that sense, and others, Norma would have loved it.Which isn’t praise. You will recall that Norma (Nicole Scherzinger of the Pussycat Dolls) is deluded: a washed-up silent film star who, in her 50-ish dotage, haunts a grand, ghostly Los Angeles mansion with only her grim manservant and a recently dead chimpanzee for company. By 1949, when the musical starts, she has barely left the premises for decades, let alone made a movie; still, she believes that she, and the silents, could achieve a marvelous comeback if only Cecil B. DeMille would direct her in the epic version of “Salome” she has written.The rest is madness. She conscripts Joe Gillis, a hunky, seedy, unsuccessful screenwriter, to polish her draft and, soon enough, other things. Joe (Tom Francis) seesaws between his luxurious life as Norma’s kept man and the more idealistic promptings of Betty Schaefer, an ambitious studio underling he at first brushes off as “one of the message kids.” Still, when Betty (Grace Hodgett Young) urges Joe to adapt a story of his called “Dark Windows,” they fall in love, while the servant, Max von Mayerling (David Thaxton), offers a dark window of his own into Norma’s modus operandi with men. (Razor and gun included.) None of this ends well, or rather it does not begin well, as the tale is narrated postmortem by Joe’s corpse.The 1950 film, directed by Billy Wilder, stands at a wry remove from these tawdry proceedings, with a cool appreciation but no embrace for human pathos and the hysteria of Hollywood dreams. Norma is a drama queen, Joe a gigolo, Betty a simp and Max a goblin. We know nothing of their emotions beyond what their actions show us.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Hollywood Is Heading for Broadway (and Off). Here’s a Cheat Sheet.

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      New York’s stages have long drawn talent from Hollywood, but this is shaping up to be an exceptionally starry season. Why? Producers have determined that limited-run plays with celebrities are more likely than new musicals to make money. And some musicals are also hoping big names will help at the box office. Here’s a sampling of stars onstage this season.This Fall★ ON BROADWAY ★Mia Farrowin ‘The Roommate’Farrow, who made her stage debut when she was 18 and had a breakout role in the 1968 film “Rosemary’s Baby,” thought she was happily retired until she read the script for this Jen Silverman comedy about two women with not much in common other than their living quarters. Now, at 79, she’s returning to the stage, opposite the three-time Tony winner Patti LuPone, for what she says may be the last time. Now running at the Booth.★ ON BROADWAY ★Robert Downey Jr.in ‘McNeal’One of Hollywood’s most successful stars, Downey has a bevy of superhero movies under his belt (he played Iron Man) and an Oscar for “Oppenheimer” (he was the antagonist, Lewis Strauss). He’s making his Broadway debut in a new Ayad Akhtar play, portraying a famous novelist with a potentially problematic interest in A.I. Now running at the Vivian Beaumont.Clockwise from top left: Nicole Scherzinger, Katie Holmes, Jim Parsons, Adam Driver and Mia Farrow (center).Photographs via Associated Press; Getty Images; Reuters★ ON BROADWAY ★Daniel Dae Kimin ‘Yellow Face’Talk about meta! This is David Henry Hwang’s play about a play about a musical, sort of. Kim, known for “Lost” and the rebooted “Hawaii Five-0,” portrays a playwright named DHH (get it?) who mistakenly casts a white actor as an Asian character in a Broadway flop inspired by his own protests against the casting of a white actor as a Eurasian character in “Miss Saigon.” Previews begin Sept. 13 at the Todd Haimes.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Sunset Boulevard,’ Heading to Broadway, Wins Big at Olivier Awards

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      The musical, which stars Nicole Scherzinger, won seven awards at Britain’s version of the Tonys. And Sarah Snook won best actress for “The Picture of Dorian Gray.”A reimagining of Andrew Lloyd Webber’s “Sunset Boulevard,” starring Nicole Scherzinger as Norma Desmond, the long forgotten silent movie star who descends into madness, was the big winner at this year’s Olivier Awards, Britain’s equivalent of the Tonys.The musical, which will open at the St. James Theater on Broadway this fall, was honored Sunday during a ceremony at the Royal Albert Hall in London with seven awards, including best musical revival, best actress in a musical for Scherzinger, best actor in a musical for Tom Francis, as the screenwriter who falls for Desmond’s charms, and best director for Jamie Lloyd.The number of awards was hardly a surprise. After the musical opened last fall, critics praised Lloyd’s stark production, especially highlighting its contemporary twists that included using cameras to zoom in on characters’ faces, then beam their emotions onto a screen at the back of the stage.Matt Wolf, writing in The New York Times, said that Lloyd’s production belonged firmly “to the here and now.” With this show, the director “takes an established musical by the scruff of the neck and sends it careering into the modern day,” Wolf added.Sarah Hemming, in The Financial Times, was among the critics to praise Scherzinger’s magnetic performance. “She’s not afraid to look scary or ridiculous,” Hemming said, “but there’s also a strung-out vulnerability about her. And when she sings, she pins you to your seat with the harrowing intensity of her delivery.”“Sunset Boulevard” beat several other acclaimed productions to the best musical revival award, including “Guys & Dolls” at the Bridge Theater and “Hadestown” at the Lyric Theater.Sarah Snook in “The Picture of Dorian Gray,” a solo version for which she won best actress at the Olivier Awards. Snook plays 26 roles in the show.Marc BrennerA host of musicals and plays shared the night’s other major prizes. “Operation Mincemeat,” a word-of-mouth hit about a bizarre World War II counterintelligence plot that is running at the Fortune Theater, won best new musical. While “Stranger Things: The First Shadow,” a prequel to the Netflix show, now at the Phoenix Theater, was chosen as best new entertainment or comedy play.The best new play award went to James Graham’s “Dear England,” about the English national soccer team, which transferred to the West End from the National Theater.In the hotly contested acting categories, Sarah Snook (“Succession”) was named best actress for “The Picture of Dorian Gray,” a solo show running through May 11 at the Theater Royal Haymarket. Snook plays all 26 roles, often interacting with recorded projections of her characters.Before Sunday’s ceremony, some critics had expected the best actor award to go to Andrew Scott for a similarly dazzling solo performance: a one-man “Vanya” at the Duke of York’s Theater. In the end, the prize went to Mark Gatiss for his role as the revered actor and director John Gielgud in “The Motive and the Cue,” a play by Jack Thorne that dramatizes the fraught backstage relationship between Gielgud and Richard Burton as they worked on a Broadway show. Like “Dear England,” that play ran at the National Theater before transferring to the West End. More

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      Nicole Scherzinger to Star in ‘Sunset Boulevard’ on Broadway in the Fall

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      The revival, birthed in London, is a radically reimagined version of the 1993 Andrew Lloyd Webber musical based on a 1950 Billy Wilder film.Jamie Lloyd’s radically reimagined revival of “Sunset Boulevard,” in which Nicole Scherzinger plays the faded film star Norma Desmond, will come to Broadway this fall after a rapturously received run in London.Earlier this month, the revival was nominated for 11 Olivier Awards, including best musical revival, best actress in a musical for Scherzinger and best director for Lloyd. The Broadway production is scheduled to begin previews Sept. 28 and then open on Oct. 20 at the St. James Theater.The musical, a dark thriller based on a 1950 film by Billy Wilder, features music by Andrew Lloyd Webber and book and lyrics by Don Black and Christopher Hampton; Glenn Close starred in both previous Broadway productions, in 1994 and 2017. (The stage role was originated by Patti LuPone in London; the film starred Gloria Swanson.)Lloyd, a British theatermaker, has carved out a distinctive niche by staging starkly spare productions of classics with a focus on psychological drama. The new production, which ended its London run in January, is stripped down in many ways — two songs have been cut, there is no grand staircase or turban and Scherzinger doesn’t even wear shoes.“It’s much more about the psychological and emotional journey as opposed to huge, elaborate sets,” Lloyd said in an interview. “It’s very much a kind of psychological chamber piece.”The show, set in midcentury Los Angeles, is about a forgotten star of the silent film era who latches onto an aspiring young screenwriter in the hopes of rebooting her career.Scherzinger, 45, has had a varied entertainment path — as a musician, an actress and a television talent show judge. The critic Matt Wolf, reviewing the London production for The New York Times, called this “a career-defining performance” for Scherzinger; the New York production will be her Broadway debut.“I guess I’ve been waiting for this my whole life,” Scherzinger, who studied theater in high school and college, said in an interview. “I can’t believe that it’s finally about to happen.”Scherzinger, who was born in Hawaii and raised in Kentucky, said she was eager to have another go at the role in the United States. She said she will set aside the script for a few months — she just spent three weeks visiting with her grandparents in Hawaii — before reimmersing herself in the character.“I’ll be back in America, my home, and I’m going to want to try and up my game even more,” she said. “There’s certain places I can make stronger choices, and I’m excited to play around with that to see where it can go — it’s great to be able to explore even more and go deeper.”Scherzinger, who said she has committed to nine months in the role, will be joined on Broadway by her three Olivier-nominated co-stars, Tom Francis, Grace Hodgett-Young and David Thaxton. More

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      A Broadway-Bound ‘Sunset Boulevard’ Leads Olivier Award Nominations

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      The musical, starring Nicole Scherzinger, secured 11 nominations at Britain’s equivalent of the Tony Awards.A revival of Andrew Lloyd Webber’s “Sunset Boulevard,” starring Nicole Scherzinger as a former screen idol descending into madness, received the most nominations on Tuesday for this year’s Olivier Awards, Britain’s equivalent of the Tonys.The show, which ran at the Savoy Theater in London and will transfer to Broadway this year, is in the running for 11 awards — two more than any other play or musical — including best musical revival, best actress in a musical for Scherzinger and best director for Jamie Lloyd.When the production opened last fall, it impressed London’s often demanding theater critics. Matt Wolf, writing in The New York Times, said the production was, like its lead character, “a bit mad: reckless and daring, stretching its source material to the limit and beyond.”“I can’t imagine another London show generating comparable buzz this season,” Wolf added.Lloyd’s maverick production features hand-held cameras that are used to spotlight characters’ emotions at pivotal moments. Although critics appreciated the technique, Lloyd faces stiff competition in the best director category. The other nominees include Sam Mendes for “The Motive and the Cue,” which debuted last spring at the National Theater. The play, by Jack Thorne, dramatizes a fraught backstage relationship between Richard Burton and John Gielgud as they rehearse a Broadway production.Justin Martin, who directed “Stranger Things: The First Shadow,” also received an Olivier nomination.Manuel HarlanRupert Goold is also nominated for best director, for “Dear England,” a play about the English national soccer team that also ran at the National Theater and transferred to the West End. That show secured nine nominations.Despite receiving mixed reviews, “Stranger Things: The First Shadow,” a theatrical prequel to the Netflix show that is running at the Phoenix Theater, secured five nominations, including best new entertainment or comedy play. Houman Barekat, reviewing the production in The New York Times, said it was “exactly what you’d expect from a show co-produced by Netflix: Cheap thrills, expensively made.”This year’s nominations include a hint of TV glamour in many categories. Among the nominees for best actress in a play are Sarah Jessica Parker for “Plaza Suite,” which runs through April 13 at the Savoy Theater, and Sarah Snook (of “Succession”) for a one-woman “The Picture of Dorian Gray” at the Theater Royal Haymarket, through May 11.They will compete for that title against Laura Donnelly for “The Hills of California” at the Harold Pinter Theater, Sheridan Smith for “Shirley Valentine” at the Duke of York’s Theater, and Sophie Okonedo for “Medea” at @sohoplace.The best actor nominees include Andrew Scott for a one-man “Vanya” at the Duke of York’s Theater, and James Norton for his performance in “A Little Life” at the Harold Pinter Theater. The other nominees are Joseph Fiennes for “Dear England,” Mark Gatiss for “The Motive and the Cue,” and David Tennant for “Macbeth” at the Donmar Warehouse.The winners of this year’s awards are scheduled to be announced April 14 in a ceremony at the Royal Albert Hall in London. More

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      Nicole Scherzinger is Captivating in ‘Sunset Boulevard’

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      A stripped-back revival in London, directed by Jamie Lloyd, brings the classic musical into the present day, and gives Scherzinger a career-defining performance.The 1993 Andrew Lloyd Webber musical “Sunset Boulevard” is about a former screen star’s descent into madness. So it seems appropriate that its bravura new West End revival should, in creative terms, itself be a bit mad: reckless and daring, stretching its source material to the limit and beyond.The production, starring the singer Nicole Scherzinger in a career-defining performance, opened Thursday at the Savoy Theater and runs through Jan. 6, 2024. I can’t imagine another London show generating comparable buzz this season.For that, credit the maverick director Jamie Lloyd, whose tightly focused, stripped-back aesthetic is on full view here. Purists may balk at a “Sunset Boulevard” without the visual splendor of Norma Desmond’s baroque Hollywood palazzo, as we have previously seen onstage and in the original 1950 feature film.But Lloyd’s streamlined approach has a power of its own. The cast as often as not wear contemporary street clothes — or sometimes not much at all — and rather than Norma preening in a turban and flowing garments, Scherzinger prowls the stage, barefoot and feline in a black slip. (Scherzinger’s sole previous London stage credit was Grizabella in a perfunctory 2014 revival of “Cats.”)Scherzinger finds a predatory allure in the character that is both captivating and chilling, and it is easy to see why the hapless young screenwriter Joe Gillis (an excellent Tom Francis) succumbs to Norma’s entreaties to help craft a screen comeback as Salome.Joe Gillis (Tom Francis) is the young screenwriter wooed by Scherzinger’s Norma.Marc BrennerOnce she has Joe in her grip and resident in her home, Norma can go in for the (literal) kill: a bloodstained finale of which Salome herself would approve. Keeping watchful eye on the pair are Joe’s girlfriend Betty (the sweet-faced Grace Hodgett Young) and Norma’s butler and ex-husband Max, whom the firm-voiced David Thaxton plays with a glowering mien that, you feel, the character learned from his former wife.The vocals throughout are impressive, and the lyrics’ cynical musings on Hollywood (“This stinking town”) are lushly served by the musical director Alan Williams’s orchestra. In keeping with the somber mood, more frivolous songs like “The Lady’s Paying” have been cut.Scherzinger nails Norma’s two showstoppers — one in each act — shedding sunglasses as she lifts the defiant “With One Look” to the rafters and beyond. That number’s second-act equivalent, “As If We Never Said Goodbye,” sung during a deluded Norma’s return to Paramount Pictures, begins plaintively, even tenderly, before building to a mighty roar. Scherzinger extends her long, sinuous arms in the direction of the audience like talons toward prey.The musical’s London premiere in 1993, and subsequent runs in Los Angeles and New York, were notable for a parade of Normas (Patti LuPone, Glenn Close and Betty Buckley, among them) and for a levitating set from the designer John Napier that was a remarkable engineering feat. Here, a different technology is at play, one suited to the Instagram era, in which everyone is always on show.Hand-held cameras spotlight characters at key moments, their faces projected on a huge screen that broadcasts every emotion (and facial pore). On Soutra Gilmour’s largely bare set, brilliantly lit by Jack Knowles, Scherzinger’s Norma is already impressive. But her image projected above us amplifies her sense of feral grandeur.The production includes handheld cameras that follow key characters around, and off, the stage.Marc BrennerNorma — who was 50 in Billy Wilder’s classic film — is now said to be 40, and was in her prime at 17. Showbiz discards personalities even earlier now, and Scherzinger, 45, who first came to prominence in the 2000s girl group the Pussycat Dolls, has a shivery command over a part that requires her to plunge headfirst into a psychic abyss.The restless cameras also zoom in on Joe, who is followed backstage and out the theater by a live feed as he sings the show’s sardonic title number before returning center-stage in precisely calibrated time for the resounding final note. Nathan Amzi and Joe Ransom’s video design pulls off a real coup with this sequence, though followers of the Belgian director Ivo van Hove will recognize the technique of folding celluloid into the theater.The prevailing intensity extends to the choreographer Fabian Aloise’s tightly drilled ensemble, which suggests a writhing, restless mass of Hollywood wannabes. And Aloise is gifted, in Scherzinger, with a rare Norma who can really dance, and who joins Joe for some sizzling two-steps — even, at one point, doing the splits.There’s fun to be had amid the show’s atmosphere of fury. As the cameras roam backstage, we briefly glimpse a life-size cutout of Lloyd Webber, and a shot of Gloria Swanson, the film’s Norma, playing on TV. The Noël Coward song title “Mad about the boy” is written in lipstick on a mirror in Scherzinger’s dressing room — which is one way of describing our heroine.But for all its nods to the past, this “Sunset Boulevard” belongs to the here and now. There’s not a whiff of nostalgia to the production, which takes an established musical by the scruff of the neck and sends it careering into the modern day.Sunset BoulevardThrough Jan. 6 at the Savoy Theater in London; thesavoytheatre.com More

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      Nicole Scherzinger as Norma Desmond? Yes, There’s a Connection.

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      Nicole Scherzinger was exhausted. It was a week since Jamie Lloyd’s new production of Andrew Lloyd Webber’s “Sunset Boulevard” had begun performances, and Scherzinger was playing the lead role of Norma Desmond — the forgotten star of the silent screen whose attempt at a comeback doesn’t end well.In Lloyd’s stripped-down, psychologically focused production at the Savoy Theater, Norma’s unraveling psyche is the heart of a story that is less about the loss of stardom than the emotional fallout of being passed over while in possession of all your gifts. At the end of the show the previous night, Scherzinger stood alone onstage, covered in blood and dazed, appearing to hardly register the audience’s wild applause.“It’s grueling,” she said last week while curled up on a chair in the depths of the Savoy. “But for many years I have been saying I am using a fraction of my potential, and now I feel I have really tapped into that.”The glamorous Scherzinger, 45, might initially seem like an odd fit for the role of Norma, immortalized by Gloria Swanson in the 1950 Billy Wilder film on which the musical is based. Scherzinger rose to fame as the lead singer of the Pussycat Dolls, a girl group formed in the early 2000s. And though she played Grizabella in a revival of Lloyd Webber’s “Cats” in the West End in 2014, her post-Dolls career has encompassed two solo albums and long stretches as a judge on “The X Factor” and “The Masked Singer.”When asked to star in “Sunset Boulevard,” Scherzinger said, “I wasn’t sure if the idea was flattering or insulting.” But she soon “fell madly in love” after reading the lines and listening to the music. Kalpesh Lathigra for The New York TimesScherzinger herself was taken aback when Lloyd, the acclaimed experimental director added, asked to meet and suggested the part some 18 months ago. “There are many roles I wanted to play in musical theater, but this is not one of them!” she said over the course of an hourlong interview. “I wasn’t sure if the idea was flattering or insulting. But Jamie said to me, don’t watch the movie; read the lines, listen to the music. And I fell madly in love with it.”In a telephone conversation, Lloyd said he first thought about directing a revival of “Sunset Boulevard” during the pandemic, and “immediately thought Nicole should be in it.”Norma Desmond, had come to be seen as a role for an older actress. But he wanted a woman “who is in her prime, really brilliant, but has been discarded, just as we talk even now about women over 40 not having the opportunities they should have,” he said. “I felt there was a connection for Nicole, who had extraordinary international fame, but then didn’t have the opportunity to live up to her potential.”Talking about her career, Scherzinger said that although she had been a shy and awkward child, she had “always had a hunger and a drive.” Born in Honolulu to a Filipino father and a Hawaiian Ukrainian mother, she was raised in a religious and sheltered environment in Louisville, Ky., by her mother and a German American stepfather, whose last name she took.Although her parents were blue-collar workers with little money to attend concerts or the theater, she grew up singing and loving music (her mother’s family had a musical group called Sons and Daughters of Hawaii). She attended a performing arts high school, acted professionally in Louisville, and studied theater (“Stanislavski and Shakespeare and all that”) and voice in college.After leaving college early to join an acoustic rock band, Scherzinger auditioned for “Popstars,” a reality series that offered the winning contestants a place in a musical group and a recording contract. Her winning group, Eden’s Crush, was modestly successful, and “it got me out of Louisville,” she said about her move to Los Angeles.Clockwise from top left, Scherzinger with the Pussycat Dolls in 2007, as Grizabella in “Cats” in 2014, rehearsing for “Sunset Boulevard” this year, and judging “The X Factor” with Sharon Osbourne and Simon Cowell in 2017.MJ Kim/Getty Images; David M. Benett/Getty Images; Summers/Thames/Syco, via Shutterstock; Marc BrennerIn 2003, she auditioned for the Pussycat Dolls, a former burlesque act reimagined as a sexy singing and dancing girl group. Scherzinger became the lead singer and a household name, with the Dolls selling millions of records on the back of hits like “Don’t Cha” and “Buttons.”She was famous, but for a woman who “grew up singing in church,” she struggled with the group’s skimpy clothing and sexualized image, and spent over a decade obsessively exercising and battling bulimia. “I wish I could go back and enjoy it, realize this isn’t going to be forever,” she said. “Maybe that’s what Norma feels: It was her youth, she worked so hard, and she can’t get that back.”The Pussycat Dolls disbanded in 2010, and Scherzinger pursued a solo career with modest success. It was during this time that she performed “Don’t Cry for Me Argentina” (from Lloyd Webber’s “Evita”) as part of a TV special celebrating Lloyd Webber, who, along with the director Trevor Nunn, asked her to join the cast of the 2014 revival of “Cats” on the West End. Scherzinger described the experience as transformative (every night “I got to shed my old self and be reborn again”), even though she didn’t stay with the production when the show moved to Broadway. She decided to join “The X Factor” instead, and Lloyd Webber was open about his annoyance.In a telephone interview, the composer said that he had been disappointed because he believed in her talent and “would have loved to have seen her show Broadway what she could do.” But they remained friends, he added, and was delighted when Lloyd suggested Scherzinger play Norma. “I believe she is one of the most gifted singer-actresses I have seen perform my work,” he said. “It’s a tough role, but Nicole is fearless musically and dramatically. I am a total fan.”“I knew exactly this feeling of abandonment, the constant thread of loneliness, the insatiable need for affirmation,” Scherzinger said. “I finally have the courage not to worry.”Kalpesh Lathigra for The New York TimesScherzinger said that “The X Factor” had given her the time and financial stability to pursue her own music, which she did while also taking on other projects, like voicing the character of Sina in “Moana,” and starring in a television version of “Dirty Dancing.” But she always believed, she said, that she would return to musical theater, particularly after performing in the television special “Annie Live!” in 2021.Now that she’s back onstage, how does it feel? She said that preparing to play Norma had been cathartic: “I felt I knew exactly this feeling of abandonment, the constant thread of loneliness, the insatiable need for affirmation, validation. Now, there is this epic, iconic score to throw all this into and create art from places of torment.”Lloyd said that Scherzinger was “constantly searching, questioning, finding details, deepening her understanding of the inner world of the character.” Her work ethic (asking questions, taking notes and sometimes working through breaks), he added, has been an inspiration to the entire cast. “You would never know, through this entire process, that she didn’t have an acting background.”Asked about future plans, Scherzinger said her dream was to write her own musical, loosely based on her life.“After all these years, I finally have the courage not to worry about what others think, to know I have something to say,” she said. “As Jamie always says, ‘You are brave, be braver.’” More