Review: Stephanie J. Block in “Sunset Boulevard” is Ready For Her Close Up

Derek Klena and Stephanie J. Block

Starring as silent film star Norma Desmond, Stephanie J. Block is an unparalleled tour de force in the Kennedy Center’s production of “Sunset Boulevard.” 

Based on the 1950 movie of the same name and directed by Sammi Cannold, “Sunset Boulevard” tells the story of struggling screenwriter Joe Gillis (Derek Klena) and his accidental entanglement with the delusional, has-been, silent film star Norma Desmond. She hires him to edit a screenplay she has written in hopes of making a comeback in Hollywood, convinced she is still beloved and adored by fans who are clamoring for her return. Norma forces Joe to stay in her mansion as he works, but her stubbornness and refusal to accept any changes to her manuscript forces Joe and the editing process to drag on for months. 

Block’s performance as Norma is a masterclass in theatrical perfection. Her appearance on stage was met with thunderous applause, and more than once, the production paused to wait for her well-deserved applause to conclude after each musical number. While songs like “New Ways to Dream” and “Surrender” are notable standouts, “As If We Never Said Goodbye” is Block’s shining moment (but really, with a talent like hers, who can pick just one?). From beginning to end, Block holds her audience in the palm of her hand with a seemingly effortless mix of power and grace, and was rightfully met with a standing ovation when the song concluded. 

Stephanie J. Block

Simply put, Block steals the show. She personifies the old expression “acting is reacting” with the most marvelous, gut-wrenching, laugh-inducing, tear-jerking facial expressions and physicality. Norma’s armor against the world may be the glittering, glamorous memories of Hollywood days gone by, but in reality, her beaded dressing gowns and feathered headpieces are merely a mask for a deeply wounded heart. It would be easy to get swept up in the absurdity of such a character, but Block brings a raw, honest energy to her performance, allowing her to portray Norma with a grounded authenticity and gritty integrity. I can only say that it was an honor to watch. 

In contrast to Norma, who is lost in an elegant dream of once upon a time, Joe is a youthful dose of reality. From the moment Klena opens his mouth, it is pure magic. His rendition of Joe exudes a boyish charm while still maintaining the sophistication, talent, and sexiness needed to play such a character. Jumping from one emotion to the next in scenes that fly fast and furious, Klena’s performance demands attention in an easy, seductive kind of way. His storytelling abilities are matched by that of his enviable vocal prowess and he impressively holds his own, serving as a dynamic counterpart to Block’s powerhouse vocals. Together, they are truly entertaining. 

Max Von Mayerling, Norma’s devoted director turned butler, is portrayed by the operatic force that is Nathan Gunn. His deep baritone is the sound of dreams that ebb and flow in gentle waves. One almost gets lost in the sweet sound of his graceful storytelling as he gently pulls you in, only to let you go once again. 

Auli’i Cravalho and Derek Klena

Other standout cast members are Auli’i Cravalho as the sweet Betty Schaefer and Michael Maliakel as the plucky young Artie Green. While Cravalho’s character almost feels underdeveloped when compared to the details painstakingly given to the other characters, she makes the most of her time on stage, filling the room with her sweet soprano. Without sacrificing any of her adorable chemistry with Klena (particularly during their performances of “Girl Meets Boy”) or dreamy Betty sweetness, Cravalho brings a fierce intensity to the role, proving there is more to Betty (and to her), than that gentle, ingénue charm. 

Maliakel is another one that deserves more stage time than he was given. His charming charisma and winning attitude match a voice and an energy that makes the most out of the limited stage time he was given. His youthful exuberance creates a toe-tapping sort of fun you just can’t help but smile at. 

Stephanie J. Block

As in any production, the costumes are critical in spinning this world of make believe. But “Sunset Boulevard” costume designer Alejo Vietti goes far and beyond the call of duty, particularly in regards to Ms. Block. Draped in shimming fabrics, feather cuffed robes, and beaded headpieces, Block glides across the stage in glittering tones of black, silver, gold, and white, looking starlett perfect from start to finish. This elegance is pivotal in the creation of Norma’s character. Rather than giving into the idea of a recluse actress locked inside her own memories, Norma is still the picture of grace and class of days gone by, dressed to the nines for every occasion. 

The production is part of the Kennedy Center’s Broadway Center Stage series, meaning that the production integrates the breathtaking full orchestra live on stage. As they become part of the scenery and elegance of the performance, the set itself by definition will be a simpler, more stationary piece. Designed by scenic and projection designer Paul Tate Depoo III, the set of “Sunset Boulevard” is defined by its sweeping staircases, heavy red velvet curtains, and a clever use of projections that pull its audience back to the days of the silver screen. With a tragically beautiful book and lyrics from Don Black and Christopher Hampton and haunting score from Andrew Lloyd Webber, the full effect of this transcendent production is mesmerizing. 

“Sunset Boulevard” runs at the Kenendy through February 8, 2023, and tickets can be purchased here. The production runs approximately two hours and ten minutes with one intermission. 

Recommended for ages 12 and up. Please be aware that this production uses smoke, haze, flashing lights, and gunshot sound effects. 

All photo credit to Jeremy Daniel