Few shows this fall have been as highly anticipated as Porchlight Music Theatre’s production of ‘Sunset Boulevard’. Porchlight artistic director Michael Weber directs Chicago stage superstar Hollis Reznik in this vibrant revival. Aaron Benham conducts a full orchestra that really showcases the sweeping Andrew Lloyd Webber score. 

‘Sunset Boulevard’ is the 1993 musical adaptation of the Billy Wilder noir classic. In it, struggling screenwriter Joe Gillis (Billy Rude) stumbles into the Sunset Blvd mansion of reclusive former Hollywood starlet Norma Desmond (Hollis Reznik). She persuades him to help her fix up a script she’s written. Things get weird when Norma has the wrong idea about their friendship. 

There’s as much tabloid drama surrounding the development of this musical as there is on the stage. Many consider Norma Desmond to be Glenn Close’s definitive Broadway role. She reprised her role on Broadway last year in the high-grossing revival, but it was written for Patti LuPone who had originated the part in West End. 

First and foremost, this is Hollis Reznik’s show and her Norma Desmond isn’t going to let you forget it. Reznik is at her best when playing deranged older women, having appeared as Little Edie in ‘Grey Gardens’ at Northlight, and Judy Garland in ‘End of the Rainbow’ at the Milwaukee Rep. Seeing her fill shoes tailored for the likes of Glenn Close and Patti LuPone shows that Reznik is capable of more than just reinterpreting other people’s work. With her powerful voice and electrifying acting choices, Reznik makes this her own. The result is haunting and disturbing. Though Reznik herself is a successful actress, something about her performance as a faded star seems urgent. It’s as if to say perhaps this isn’t just a story about the Hollywood machine, but rather a parable about the way the workforce discards people once they’re no longer useful. 

That said, this is Hollis Reznik featuring the rest of the cast. Some notable standouts from Billy Rude as Joe Gillis and Michelle Lauto as Betty Schaefer rise to meet the high standard set by Reznik, but sadly the rest of the cast fades into the orchestra. While the beautiful score was provided by Andrew Lloyd Webber, the book and lyrics were penned by Don Black and Christopher Hampton. The dialogue and lyrics aren’t great, and many original critics in the 1990s were quick to point that out. The somewhat shallow lyrics are often repeated throughout the songs as a means to fill out the book, which is hard for any actor to make dynamic. This show does not endure because of the book, but instead for the performances and the central conflict between Norma and Joe. 

Those with an affinity for ‘Sunset Boulevard’ or missed Glenn Close on Broadway last year will be delighted by Porchlight’s faithful production. With an extension of the run announced before the opening, Porchlight proves that Hollis Reznik packs houses as the headliner. A Broadway tour can book a star to play Norma, but director Michael Weber shows us that our local Chicago theaters can do just as well if not better than any corporate-flavored national tour. 

Through December 8th at Porchlight Music Theatre at Ruth Page Center for the Arts. 1016 N Dearborn St. 773-777-9884