Glenn Close amazing in ‘Sunset Boulevard’
WHENEVER I’M out and about these days, one of the inevitable questions I am asked is: “Have you seen Glenn in ‘Sunset Boulevard’?” Alas, the answer, so far, is no.
On the morning of Glenn’s opening, it was snowing madly; news reports said it would get worse. I decided not to brave what was being advertised as an epic adventure in slipping and sliding. As it happened, things didn’t turn out so bad. But by the time that was clear, I’d given up my ticket, and it was surely snatched away, instantly.
So I have had to abide by the unanimous raves of critics, especially my friend Ben Brantley of The New York Times, to gauge the extent of Miss Close’s second triumph in the role of Norma Desmond. (Not to mention all the people I know who have seen it, and fall about describing the star’s brilliance.)
I had the good fortune to see Glenn when she played “Sunset Boulevard” in Los Angeles, in 1993, prior to Broadway. It was a Barbara Davis charity event performance, and almost everybody who was anybody was there.
The star, Miss Close, was a revelation. I’d seen Patti LuPone — very good indeed! — in the London production of “Sunset” and even became a part of that drama, when Patti poured out her unhappiness to me over not being chosen to bring the show to America. But everybody’s bruised feelings healed — more or less.
Glenn was spectacular and in “real life” offstage, it amazed me how youthful and attractive she was, what a transformation had been wrought through her performance, and the costuming, lighting and makeup.
Almost a year later, Glenn would open “SB” on Broadway to rave reviews and a Tony Award. Once again, backstage and at the opening night party, I noted her exquisite unlined skin, and a body that wouldn’t quit, in a close-fitting gown. It brought me up sharp that she had performed a miracle onstage.
Now, 25 years later, more “age appropriate” (although still looking pretty good as herself ), Glenn has done it again. New York is at her feet and from what I glean from reviews and from friends who have seen it she has brought something even more vivid and poignant to the role.
Don’t be foolish, as I was. Don’t allow weather — or even an impending threat of apocalypse — to keep you from seeing Glenn Close in “Sunset Boulevard” at the Palace Theatre. I do hope to see her before this run ends. I love the theater, and I love that it is simply booming these days.
I did happily attend the opening night of “Sunday in the Park with George” (there was a cloud in the sky, but I ignored it) and found myself reassessing what I believed was not a favorite Sondheim musical. And, on March 15, even if there’s a meteor shower, I intend to be part of the hysterical opening night audience for Bette Midler’s “Hello, Dolly!” Yes, I am expecting hysteria. This will be, after all, the very first time Bette has starred in a Broadway musical.
SPEAKING of the opening night of “Sunday in the Park with George,” I’ve been meaning to give a thankful shout-out to one of the ushers, who was particularly attentive and good-natured on that tumultuous and revelatory evening. I ran into him again at the New York Public Library after-party for the Sondheim revival. His name is Jon Steiger, actor/writer/artist.
So, he’s a graduate of the American Academy of Dramatic Arts, has worked in theater, TV, web series. His resume is chock full of varied projects — apparently he can play Shakespeare and sing, too (tenor)!
Special skills include juggling, parkour, Irish, English and Cockney dialects. He paints, draws, builds sets and can whip up an amazing caramel corn. Also, he makes a good impression on folks. Obviously.
Jon Steiger — remember the name. Heloise
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