Morgan Snowden

Musical Theater Foundations 2017

Musical Analysis 1990’s

SUNSET BOULEVARD

1. Composers - Andrew Lloyd Webber

2. Premiere Date: 1991, Broadway premiere: November 17th, 1994

3. List of Characters/Type/Voice Part

Character Description Type VOICE PART

Norma Desmond Melodramatic diva, Leading Lady, Diva Alto
delusional, suicidal
believes that she is
a star but is
tragically,
forgotten.
Joe Gillis Man who is a Leading Man Baritone
focused writer
questions his future
after he begins
working for a
delusional diva.
Stands his ground
on what he believes
in, sensible.
Max Von Mayerling Butler, adding to Loyal Gentleman, Bass
Norma’s delusion, antagonist (because
his life has revolved he leads Norma on)
around her and he
has made Norma
believe she is still
loved by many with
fake fan mail.
Betty Schaefer Determined to Young Woman In Mezzo-Soprano
make Joe’s script Charge, also
for a new movie a Ingenue type
hit. Is engaged to
Artie but falls in
love with Joe.
Smart, young,
beautiful, lively.
Cecil B. DeMille A director who The Boss Man Bass
shows sympathy for
Norma. Kind, a man
in charge. Teddy
Bear but cannot do
the hard thing and
tell Norma that she
is not going to get a
movie. Successful,
admired
Artie Green Assistant director. Gentleman Tenor
Supporting
character, engaged
to Betty, friends
with Joe. Ambitious
Mr. Sheldrake Supporting Boss Man Baritone
Character. Featured
role

4. Music

Act I
TITLE SUNG BY SONG TYPE/BALLAD-
UPTEMPO
Overature/I Guess It Was 5 Instrumental, Joe Expositional/Uptempo
A.M.
Let’s Have Lunch Joe, Artie, Sheldrake, Expositional/Uptempo
Betty, and Ensemble
Every Movie’s A Circus Joe, Betty, Artie, Ensemble Expositional/Uptempo
Car Chase Instrumental Uptempo
At The House On Sunset Norma, Ballad
Surrender Norma, Joe Ballad
With One Look Norma I Am/Ballad
Salome Norma, Joe Narration/Uptempo
The Greatest Star of All Max, Joe Summary/Ballad
Every Movie’s A Circus Joe, Betty, Artie, Ensemble Narration/Uptempo
(Reprise)
Girl Meets Boy Betty, Joe I Want/Uptempo
Back At The House On Max, Joe, Norma Narration/Ballad,
Sunset conversational
New Ways To Dream Norma, Joe Narration/Ballad
Completion Of The Script Joe, Norma, Max Narration/conversational,
The Lady’s Paying Norma, Joe, Male Narration/Uptempo
Ensemble
New Year’s Eve Max, Joe, Norma Narration/Uptempo
The Perfect Year Norma, Joe I Want/Ballad
This Time Next Year Joe, Artie, Betty, Cecil B. I Want/Uptempo
DeMille, Ensemble, Max
New Year’s Eve (Back At Joe, Norma Narration/Coversational
The House On Sunset)

Act II
Entr’acte Instrumental
Sunset Boulevard Joe Conflict/Uptempo
There’s Been A Call/ Norma, Joe, DeMille Narration/Uptempo
Journey To Paramount
As If We Never Said Norma Emotional Climax and
Goodbye Narration/Ballad
Paramount Conversations/ Betty, Joe, Max, DeMille, Narration/Conversational
Surrender (Reprise) Norma and Ballad
Girl Meets Boy (Reprise) Joe and Betty Narration and I Want/
Uptempo
Eternal Youth Is Worth A Ensemble Uptempo
Little Suffering
Who’s Betty Schaefer? Joe and Norma Narration/Conversational
Betty’s Office At Paramount Betty and Joe Narration/Uptempo and
Conversational
Too Much In Love To Care Betty and Joe I Want/Uptempo
New Ways To Dream Max Narration/Ballad
(Reprise)
The Phone Call Norma, Joe I Want/Uptempo
The Final Scene Norma, Joe, Betty, Max Emotional Climax/Uptempo

5. Plot Summary with Location of Songs

“Overture/I Guess It Was 5 A.M.” In, “Let’s Have Lunch” Joe Gillis is running around
talking to the screen writers and actors saying to everyone that he sees, “Let’s Have
Lunch.” In “Every Movie’s A Circus” Joe is desperately searching for a job and no one
can provide him with one. Joe runs away from Repossession agents at Paramount and
hides in Norma’s garage to escape. “At The House On Sunset” is the first time Joe gets
to take in the scenery of this outdated yet stunning mansion. He asks if he can phone
a friend. “Surrender” Norma says that she will never surrender and tells Joe to get
out until he recognizes her. She begins to tell him about her career. “With One Look”
is how Norma describes the way people see her and she says that With One Look
everyone will recognize that she should be back playing the roles she was meant to
play. After pouring her heart out, Norma notices that Joe is a writer and asks him to
look at her script for a new movie “Salome” which she describes the leading character
who she thinks should be played by one person only, her. She asks him to edit her
script and he is hesitant but accepts soon after offers him a hefty salary. She makes
him stay in a guest room in her house and says they will begin at 9 SHARP! After Joe
says to Max, the butler, “she’s quite a character isn’t she…” Max explains how the
movies got small but Norma is still the “The Greatest Star Of All” calling her
immortal, a living legend. Joe heads back to the studio where the madness behind the
scenes is as mad as ever. He meets up with Betty who says that his script’s opening
should be changed in “Every Movie’s A Circus (Reprise).” They discuss the opening and
what it should be changed to. Joe says that Betty should write the script instead of
him in “Girl Meets Boy.” Max explains to Joe that he should be more available. He
tells Joe that the fan mail Madame receives is written by him because she is so fragile
and depressed in “Back At The House On Sunset.” He explains life at the mansion was
not what he expected and Norma demands so much from him. “New Ways To Dream”.
Norma can barely contain her excitement when she reveals to Joe that Max is
delivering the script to Paramount for Mr. Cecil B. DeMille in “Completion Of The
Script.” Norma becomes hysterical when Joe says he will be going back to his
apartment so in an effort to calm her panic, he agrees to stay. Norma celebrates Joe’s
birthday in true Norma fashion in “The Lady’s Paying.” She has arranged a New Year’s
Eve Party that Joe has no choice but to go to. At “New Year’s Eve”, no one has shown
up to the party and Norma dances with Joe to celebrate the night. They show how
much fun they can have together in “The Perfect Year.” Norma describes how being
with him next year would be the perfect year and Joe agrees. Norma describes her
love for Joe and he thinks that he is being taken for granted. “This Time Next Year”
Joe finds himself at Artie’s party and everyone shouts their New Year’s Resolutions out
loud. Betty says to Joe that Sheldrake loved the script and Joe reminds her that she
has the script now. She insists that he works on the script with her. He finally gives in
and asks to move in with Artie. Joe calls Max and he says that he cannot talk because
Madame has found his razor and has cut her wrists. In “New Years Eve (Back At The
House On Sunset)” Joe finds Norma and she is distraught. She says that he should say
thank you for all that she has done for him and go.

Act II begins with “Sunset Boulevard” where Joe describes how it is not all how
it’s lead up to be. He is living the life but everyone does anything to get there, even
compromising themselves. He says that this must end between Norma and him. Norma
is overjoyed when he learns that Paramount loved the script of Salome in “There’s
Been A Call/Journey To Paramount”. They travel Paramount and DeMille and Norma
meet again at last. Norma is mesmerized by the “ever spinning playground” that is
Paramount. She trembles and sings about how she can feel the magic in the air and
it’s “As If We Never Said Goodbye.” Betty and Joe meet again and Betty is frustrated
that Joe hasn’t called her to work together yet. Max figures out that the reason
Paramount has called was not for Norma, but for her car to be featured in a movie.
DeMille explains that Norma has never known the meaning of surrender in “Paramount
Conversations/Surrender (Reprise).” Betty and Joe talk about the new beginning of
the script and their love sprouts a little more in “Girl Meets Boy (Reprise).” Norma
visits backstage again and is greeted by the women who do makeup. They explain how
young and beautiful she will look in, “Eternal Youth Is Worth A Little Suffering.”
Norma screams “Who’s Betty Schaefer?” at Joe and says the only thing that is keeping
her from shooting herself is her fans waiting to see her on the screen. After Betty
finishes the script she tells him how her parents wanted her to be an actress and they
walk together and she explains that she can't marry Artie because she is in love with
Joe. In, “Too Much In Love To Care” Joe and Betty are confused about their feelings
because they have never felt this way before. Max reveals that he has directed
Norma’s movies and she will never know that Paramount doesn’t want her. In “New
Ways To Dream (Reprise)”, Max explains that she met her when she was seventeen,
bright, awkward and full of dreams and they eventually got married. He says that he
will not allow her to surrender her dreams. “The Phone Call” Norma calls Schaefer
and tries to turn Betty away from Joe. Joe slaps the phone out of her hand and tells
Betty to come over to see what he is living with. “The Final Scene” Betty finally
comes over and Joe says that Betty should go back to that fool Artie and she can come
over and swim in his pool. Some of Norma’s melodrama has rubbed off on him. Betty
leaves for good and Norma thanks Joe for leaving her. He then says that he’s leaving,
no one is shooting her film, Paramount only wanted her car, and he says “Nothing’s
wrong with being 50 unless you’re acting twenty”. She is delusional and says no one
ever leaves a star and shoots Joe. Norma has completely lost grip of reality and finally
gets her “screen time” when the police arrive for her.
6. Climactic Plot Structure

Stasis Life at Paramount studios is crazy as

always and Joe is causing some of the
craziness with his script.
Exposition Joe meets Betty and they discuss his
script. Betty thinks it needs a lot of work
and they agree to meet at Schwab’s if
Betty works on the script for Joe.
Inciting Incident When Joe reads Norma’s script and she
gives her the job he was looking for.
Rising Action Everything from when Joe starts his new
job for Norma through to “Too Much In
Love To Care”
Crisis “Too Much In Love To Care” When Joe
and Betty share their love. / “New Ways
To Dream (Reprise)” When Max says she
will be the last to surrender.
Climax “The Phone Call” through to when Norma
shoots Joe.
Denouement The police come to retrieve a now out of
her mind Norma.
Resolution/Conclusion Norma sincerely thinks that the police
men are her camera crew and DeMille
ready to shoot her close up in Salome.
New Stasis Norma is insane and she finally got her
spotlight.

Works Cited:

Close, Glenn, and Don Black. Sunset Boulevard. By Andrew Lloyd Webber. Sunset
Boulevard. American Premiere Recording, 2006. CD.