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There’s no doubt that the new revival of Andrew Lloyd Webber’s Sunset Blvd. is one of the most talked-about productions of the 2024–2025 Broadway season. Visionary director Jamie Lloyd reimagined the show, zooming in on its raw essence, and has incorporated striking video elements that undoubtedly enhance the theatrical experience. As for the show’s star? Nicole Scherzinger — best known for her work with The Pussycat Dolls, makes her Broadway debut as the iconic faded movie actress Norma Desmond. Entertainment journalist for Spectrum News NY1 Frank DiLella recently caught up with Lloyd and Scherzinger to talk about breathing new life into Sunset Blvd. and redefining the musical for a new era as it continues its limited engagement on Broadway through July.
Jamie, congratulations on a spectacular revival. When were you first exposed to Sunset Blvd.?
JAMIE LLOYD: I didn’t really know Sunset. I grew up listening to Andrew Lloyd Webber, his songs. I had a best-of cassette tape of Andrew Lloyd Webber songs, which I listened to on a loop until I wore it out. The first Andrew show I saw was Cats. Sunset was the only one I really didn’t know, and it was after I had done a production of Evita in Regent’s Park that I got the Andrew Lloyd Webber bug again and was listening to his shows — and Sunset seemed to be the one that I wanted to investigate. And then I had this bizarre dream where I saw certain elements of the production and imagined Nicole Scherzinger playing Norma Desmond.
Why Nicole as your Norma?
JL: I could really imagine how she was going to do it. I love that she would connect with Norma Desmond’s journey of being really famous and popular and then sort of dropped and forgotten. And worse — even mocked and dismissed. And, as you know, our production plays around with the idea of, Where does Norma Desmond begin and where does Nicole Scherzinger end? Because their journeys are very similar.
Nicole, tackling Norma Desmond, I know she wasn’t on your radar. What’s it been like living with her for more than a year, first in London and now on Broadway?
NICOLE SCHERZINGER: The first thing that comes to mind when you ask me that question is, she’s changed my life. I’m a different person. Tackling this role and the depths of this role, I’ve really had to die of my old self in so many ways. It’s been extremely transformative. Norma’s story goes deep into the psyche; she battles a lot of things that every human battles. The issue of time. The issue of feeling alone and feeling abandoned and dismissed. Feeling unseen and unloved. Not having the validation that she unfortunately needs. To go to those places every night, it’s been therapeutic and cathartic, because you have to face your own demons if you’re going to make the story honest and truthful.
Sunset was supposed to be a limited run in London, and now you’re the talk of the town in New York City and Broadway!
NS: Because I’m in it so much, I’m not out and about hearing all these things. I’m deep in the work and making sure I’m staying strong and healthy to show up and give an opening and closing night performance for each new audience. It’s nice to be seen and recognized for your work. I couldn’t have asked for a better role or production. I just really encourage people to keep an open mind, heart and imagination because you never know where your destiny leads you or where your big break is going to be. I never had the role of Norma Desmond in mind in Sunset Blvd. and it’s changed my life.
The world knows you as a Pussycat Doll, but you’re a musical-theater kid at heart.
NS: Growing up, I wanted to be Whitney Houston and Paula Abdul. Growing up we didn’t have money to help me with voice, acting, or dance. My youth performing-arts school is what made me fall in love with musical theater. And we also had the Kentucky Center for the Arts in Louisville, and I’ll never forget when Miss Saigon came to town. Being a young Filipina girl and there were not many Filipinos at that time in Louisville, Kentucky, I was just like, “Wow, Kim is the role for me.” I fell in love with Lea Salonga on my Miss Saigon CD. Musical theater has always been in my veins. I would always listen to Miss Saigon, Les Miz, Phantom of the Opera. I loved Phantom, Jesus Christ Superstar, Evita, Joseph [and the Amazing Technicolor Dreamcoat] … All of the Andrew shows.
Jamie, what was Andrew Lloyd Webber’s initial reaction to your stripped-down version of his Sunset Blvd.?
JL: Andrew never asked me what I was going to do with the show. He never asked me what the ideas were or what the approach would be. He had seen my production of Evita, and so he knew my Sunset wasn’t going to be a traditional approach. He knew of some of the other productions we had done. He knew what he was getting himself into, but didn’t ask for specifics. He was most excited about Nicole.
Nicole, Andrew is now a friend of yours. He told me this is the best production of Sunset — ever. How does that make you feel?
NS: It makes my heart so full. Andrew found me many years ago when he was doing Love Never Dies. I feel so blessed to say so many wonderful people found me. Prince found me. Andrew Lloyd Webber found me. I didn’t have to seek these people out. And because Andrew did that, I will always want to make him so proud. He asked me to sing a song during the height of my Dolls career and I flew to New York and sang the song with him. And he’s always believed in me. I want to make the skies light up when I sing his music.
Jamie how does that make you feel, knowing that Andrew said this is the best production of Sunset ever?
JL: It’s mind-blowing. I have such huge respect for the original production and Trevor Nunn’s work. I recently went to see Phantom in London with Andrew a few days ago, and I was struck again — his work is so associated with those original productions, those iconic Hal Prince and Trevor Nunn productions, and it’s hard to forget some of the iconic imagery of those original productions. Can you imagine Phantom without the chandelier? It’s impossible. You hear the music and you see the images in your head. I love the fact that Andrew is so collaborative and open-minded and entrusted the piece to us and was inspired by what the whole team was doing.
Nicole, you’re also now pals with Patti LuPone, the original Norma Desmond. She gave you her blessing when she saw you perform the show in late 2024.
NS: It was beyond a thrill! If you knew how much of a fan I am of Patti’s! Thank God I did not know she was in the house. The only way I knew she saw the show was when she spoke to you! [Laughs.] To hear that we got the Patti LuPone seal of approval and blessing — that’s it. That’s all I need! Patti doesn’t BS anybody.
Jamie, the use of video in your production is spectacular. Specifically, the opening of Act Two with Tom Francis singing live on the streets of New York City.
JL: That moment was never a part of the plan. Our rehearsal process is incredibly creative and collaborative. It’s not like I go into rehearsals with every detail mapped out. I have some key ideas and moments in my mind. I said to Tom when it came to rehearsing the song “Sunset Blvd.”: “What’s your instinct?” And he said, “I’ll just stand there and sing it because it’s such a great song.” So I let him do that, and he was amazing. But somehow this idea popped into my head about the opening of Act Two and the title number to do what we now do, which is do a tour of the building and take it out on the streets. And I announced it to Tom and described it to him and everyone in the room, and I looked behind me and there was the sound and video team with their mouths wide open and in shock. And of course, on the first day it seemed like an impossible mountain to climb. But it’s a testament to the entire team, their perseverance and passion. They put a lot of hours into making it logistically possible.
Nicole, your performance is so physical and demanding. How do you come down from your performance nightly?
NS: At the end when I sing “This time I’m staying / I’m staying for good / With one look I’ll be me,” I literally squeeze every ounce of energy out of me. And when I turn to do that bow, I’m exhausted. I feel like I’ve given all of me. But then it’s rewarding when we do our bows, I get to look at my cast every night and make eye contact with them. It’s hard for me to wind down after a show; I’m usually up till 3, 4, 5, 6 in the morning. But it’s the life you live.
Are you loving being part of the Broadway community?
NS: It’s the greatest honor. It literally brings tears to my eyes. This is the pinnacle. This is where the greatest Olympic musical-theater athletes are. This is it. This is the bar. The bar is set on Broadway. When I go to shows I look at these people and think, “I can never do that.” I look at them in awe. Broadway is a whole other beast and a whole other breed. I’ve lived a pop-star life, babe. I’ve been on many world tours. And it ain’t got nothing on Broadway. I can’t put into words the deep love and admiration and respect I have for this community. And to be a part of this community — it makes me feel like I’ve made it.
Jamie, you’re revisiting Andrew’s Evita at the Palladium in London this summer, and you’re set to direct his new show, The Illusionist, which is inspired by the 2006 film starring Edward Norton. What can you share about both projects?
JL: We’re casting Evita now. It’s a production that’s loosely based on the production I did at Regent’s Park. It will feel like an evolution of that production. There will be some big changes to that production. And working on Andrew’s new show is a huge honor. There’s no timeline for The Illusionist at the moment. It’s shaping up very well. And when it’s ready, we can’t wait to share it with audiences.
Sunset Blvd. is currently playing a limited engagement on Broadway at the St. James Theatre through July.