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[0:00] Jeff Malone: Welcome to Half Hour with Jeff & Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances, storylines, and everything in between. In today's episode, we're discussing the 2024 Broadway Revival of Sunset Boulevard, currently playing at the St. James Theatre in New York City. Whether you cannot catch the show in person or you want to expand your thoughts after seeing it, this episode is for you. And as always, we want to inform you that this episode will contain spoilers, so if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:31] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for this episode. But before we start the conversation about Sunset Boulevard, here are a few words from our advertisers. Welcome, everyone, to a new episode of Half Hour with Jeff & Richie. Today, we're discussing the Broadway Revival of Sunset Boulevard. Nicole Scherzinger stars as the immortal Norma Desmond in Andrew Lloyd Webber's legendary Sunset Boulevard, reimagined by visionary director Jamie Lloyd. The New York Times declares this bravura new revival belongs to the here and now. Nicole Scherzinger gives a career-defining performance, and the Washington Post tells this killer production is theater at its devilish best.

[1:15] Jeff Malone: It's sleazy. Haunted by her memories and dreams, movie star Norma Desmond yearns to return to the big screen. A struggling screenwriter who can't sell his scripts to the Hollywood studios may be her only hope, until their dangerous and captivating relationship leads to disaster. Drenched in champagne and cynicism, Sunset Boulevard focuses the lens on the ambitions and frustrations of its characters and puts their intoxicating need for fame and adoration in stark close-up. So, we're talking about the 2024 Broadway Revival of Sunset Boulevard. And as always, we start our episodes with our hot take. So, I'm gonna go first. Listen, the hype is real, y'all. This production is beyond captivating. And I'm gonna say this, Nicole Scherzinger is giving the Tony Award-winning performance on that stage. You heard it here, folks.

[2:13] Jeff Malone: My hot take is this is a nearly perfect reimagined revival of a really good show. Yes, the actual show is good, in my opinion. Yes, this revival is very good. Yes, Nicole Scherzinger is very good. And I found just about every single aspect of this to be flawless, stunning, and nearly perfect. Well, guess what? That's a hot take, because there are many people that don't like this show. So, we're gonna get into that. Let's go. Let's dive a little bit into just some overall thoughts and plot and concept. Unlike the New York Times, we don't need to spend the whole time talking about the original show, because we know that the New York Times spent a lot of time in their review talking about the actual show itself.

And by New York Times, we're talking about Jesse Green and him talking about the material versus the actual production. Which I just found so much of it to be about the actual material for a show that's 40 years old, or 30-something years old. I don't understand why we're... I think that's one thing to kind of go into this.

[3:14] Richie Grasso: I think what you're saying is right. Let's not sit here and dissect this as a piece anymore. That's been done for so many times, and it's either you like this, you like Sunset Boulevard, or you don't like Sunset Boulevard. The thing is, the original film is iconic. The original musical production of this is also iconic in Broadway history.

[3:37] Jeff Malone: Some drama there.

[3:39] Richie Grasso: Yeah, there's drama, as there is on stage in the show too. I find that we're talking about a dramatic filmic in the original as well. You have a narrator, there's Hollywood vibes. This already gives drama. And we're dealing with a really wonderful score. I do find the orchestrations in this score to be quite stunning. As If We Never Said Goodbye might be my favorite Andrew Lloyd Webber song, other than maybe Music of the Night. It's probably between those two for a ballad. We saw the Glenn Close revival a few years back, so we've seen something that's a little more traditionally done. Now we're seeing this. You have to understand the plot and follow it, and this production makes it a little bit more difficult because you don't have the scenery and the props.

You have to follow them with this plot. Overall, this original show is good, I think, and I think it works. I know some people don't like this show. I get that, right? I feel like that's a big topic in my question to you here. Why do you think people don't like it? A lot of people actually say it's a bad show.

[5:00] Richie Grasso: At times, it's a forced ensemble. I will say that. The ensemble doesn't quite feel natural. It almost could have been a six-person show, maybe. There's a few filler songs, and actually two of what I thought were the filler songs were cut from this Jamie Lloyd revival, which I agree with. The Lady's Paying is an odd song, and so I'm kind of glad that that was cut from here. I find that you have a few good ballads, and then some of the other songs and scenes just feel a little odd at times. I don't think it's a perfect show, but I think that the ballads and the filmic music makes up for it and makes it very good, I think.

[5:49] Jeff Malone: Yeah, but I kind of look at this as the book and music, and we're going to talk about that first here. I don't think it's that bad of a book, right? I know that there's not much, because it is very sung through most of the show. There's a lot of singing happening, I think, when we get into some of the parts of the actual book. I don't know. I look at it, and I say, there is a meaning to this. There's a point to it. I don't know if it necessarily is how people want to see it told, but we're talking about someone who really used to have this youth and this beauty and has gone through the Hollywood train and then kind of gets discarded, like so many people. I think this is such a normal story to be telling in the Hollywood space, and I don't really understand why people immediately say, no, it's a bad show.

Well, I know that the original has large lavish scenery, and it's a little clunky in that way, a little campy, kitschy at times with the let's do lunch and all that kind of stuff. But that's on the production level. I'm talking about why people actually think that the show is written bad.

[7:05] Richie Grasso: Yeah, yeah. And then we look at, I mean, just the concept of this revival. And we look at someone like Jamie Lloyd, who we saw, Doll's House, which is all about a house and there was no house, right? So then you're looking at Sunset Boulevard, which is all about a house and there was no house, right? I mean, he's smart in that way. It's also a film, and we're treated like we're in a movie house watching a film of a film.

[7:28] Jeff Malone: Yeah. Well, we can get into the production of it, right? Yeah, because that's the whole concept here, right? You're watching a film of Sunset Boulevard. That's the theory here. That's the concept. So you're supposed to see the lights, the cameras, the action, literally and figuratively. You're watching the production come alive. So removal of scenery, removal of props, putting things in black and white film, having camera crews follow people around, using the ensemble in a modern way. Yes, you're still set in the 40s and 50s, according to this production, because they display those time periods on the projection. But you have an avant-garde, dark, almost could-be-anywhere, could-be-anytime frame feel, which normally I'd be saying leads on as confusing. And it didn't lead on as confusing. I understood that we were on a movie set the whole time.

[8:17] Richie Grasso: Of course, the irony is that Norma Desmond is in a black nightgown the whole time and barefoot, because you always see Norma Desmond in the most gorgeous looks, especially when she goes to the studio a lot, as if we never said goodbye, and shows up there, right? The concept here totally, totally works for me. It works for us. I don't know if—probably I would go as far as saying 70% of the theater understands that we're supposed to be on a movie set, though.

[8:50] Jeff Malone: Mm. Yeah. I realized when we walked in and the house lights were up and the stage was just a grey curtain, I think, on stage and it was dark, and I looked up at all the lights that were projecting on the curtain from the house, and I said, Jeff, not one stage light is on right now. Which is so rare nowadays, because you usually have curtain warmers, the lights that literally and figuratively warm the curtain, right? You have a backdrop, you have some light, some gobo light, something on the stage, as you walk in. There was no, like, projector or light on that stage. It was like a—we should have had a ghost light out there for all we needed, because it was like the movie didn't start yet. How many times do you walk into a movie theater and it's just a blank, grey screen? Nowadays, it's like, the trivia, or whatever, you know? But I think, like, from—for concept here, are we supposed to be seeing this as, like, we're seeing a film? Yes, because—

[9:52] Richie Grasso: Or are we watching them record the film? Maybe a little bit of both, because then, at the end, you do have the rolling credits, and you're, like, in a movie theater. Yeah, in the beginning, you—how many times do you see a film, and, like, you're ten minutes in, and then it says, so-and-so presents, directed by blank. That was old film, where, like, in the beginning, they would say, now the credits roll at the end, but in the beginning, they would have the show cards, right? So now, ten minutes in, that big screen comes out. It's Jamie Lloyd Productions, and there's, like, a mini overture that plays. You're in the film, so her doing the close-ups—and we'll talk about her performance, of course, in a second—but all of those filming women following him on the street, talking about—he's singing a whole song about Sunset Boulevard.

Why would you not put him on a literal street and do it? It makes complete sense. Always, what I say is, if a director goes back to the text and roots it in what the text is, we have a five-minute opener of Act Two about the literal street that she lives on. The name of the show—

[10:46] Jeff Malone: is about the street that she lives on. Why would we not bring someone out to a literal street?

[10:50] Richie Grasso: Makes complete sense. Totally. It just all makes complete sense. Well, then let's get into the direction, the actor performances, and design of this piece. But before we do that, here are a few messages from those that make the show possible. Alrighty, we started touching on this a little bit before our little break there, but what do you want to get into first? The performances or the direction?

[11:10] Jeff Malone: Let's talk about the direction and design because I was still kind of on a little bit of that and we'll save the actor performances for the minutes. And I'll go to start by saying, this is one of those kinds of directions by a director that you're either going to love it or you're going to hate it. I personally love it. Because it's not, yes, because it's not too out there. Sometimes directors push you a step too far and you say, whoa, whoa, whoa, we lost the concept. Whoa, whoa, whoa, it's doing too many things. And then the opposite, which I think some directors right now on Broadway are not doing enough. And it's a show that's sitting and I'm like, what are we watching here?

[11:48] Richie Grasso: Well, I guess one thing I'll say though, yes, one thing I'll say though, is do we need every single director on Broadway directing like Jamie Lloyd and Ivan Van Hove? Or like, no, we do not because then we're going to get super bored. But sometimes I think it's safe to say it's okay when a show like this comes along and does a minimal set, uses tech, and kind of does a new version or new viewing of a piece that people do love. Listen, a lot of people love Sunset Boulevard. Right? I mean, are we wrong here to say that? But I also think this new design and dark concept, along with Nicole coming in, brings a different audience in. Because if we were just going to see another production of Sunset Boulevard with Glenn Close or whoever, it was just going to be maybe your typical theater crowd.

[12:42] Jeff Malone: Exactly. So you're bringing in new crowds. I will also say every camera angle, every light, the lighting. Oh my gosh, we have to talk about the lighting. When she is singing with one look and all that fog is around her and she's got the lights on her, you think you're in a movie with her. And I've never seen a more full stage of a bare stage of my life where I felt like the music was literally flying around her. That's how full, and I use full in air quotes because there was nothing around her but smoke and lights. And also, yes, does most of the lighting look like white lighting? Yeah, but you have different shades of white and gray and ambiances. It's just all so smart. As a director choice and as a design choice, it was going for black and white film. I think they tackled that in a great way.

[13:26] Richie Grasso: We're watching this piece and you're saying to yourself, oh, it's black and white until we get that one moment of red. The moment's happening. It's happening now. It's happening. It's so funny because a lot of places that will do The Wizard of Oz, like schools and community theaters, will always set the beginning with a black and white backdrop. And Andy M. and Anne Glannery will be in black and white clothing and Dorothy will be in a black and white dress because they homage the film. And then when they go to Munchkinland, it becomes color. A lot of stage productions will do that. This is, since then, a production that's taking the film noir film of the black and white and heightening it, which leads me to some of these camera angles.

This is where I know some critique is coming is the camera angles of Nicole. The close-ups seem a little campy, kitschy, a little like, is she okay? Are we mocking her being out there? I don't think we're mocking her. I think we have to remember that it's about the face. It's about the faces that she's making. But that's what the lyric is. All she's singing about is her look, her eyes, her face. We didn't need dialogue back then. It was the face that did it. She's saying that in the whole show. Of course you should zoom in on her face with camera angles. It makes complete sense. And if they didn't do that, people would have said, they didn't focus on her face. It's a damn if you do, it's a damn if you don't.

[14:47] Jeff Malone: But I will say, some of the faces she was making, yes, they bordered on silly. And so I thought at times it was like, oh, is Nicole just being silly? But if you look at the original Sunset, there are some borderline bizarre faces that she's made. I think it's Gloria Swanson in the film that she's making. And it's like, whoa, what are you doing that for? Because at the time, it was so prevalent in silent films and to do the whoa look, right?

[15:14] Richie Grasso: Yeah, you have to overdramatize it.

[15:16] Jeff Malone: Right, right. And so, yes, she's also having what seems like a mental breakdown of some sorts, this character. And so it's her rolling on the stage. Yes. Is that Nicole being Nicole? Is that the character? That seems a little like, yeah. There was the camera zoom in on the Pussycat Dolls poster in the dressing room. I think it's poking fun at what they know that they have a pop star playing the role. So maybe they're trying to poke fun at it. There's a lot of different ways you can look at it. None of it really bothered me that much, though. It reminded us of where we were and what we're doing. And I think that at the same time, Nicole paid homage to the struggles that this character was going through, which we're going to talk about characters in a second. But I think the camera angles just brought to sense of what that film noir silent film time was like.

[16:03] Richie Grasso: Yeah, I think they're bringing a different level of tech to a production like this that we haven't seen. It's amazing to me. I look at this and I say, wow, I feel like these are the cameramen that are moving through this piece and we're watching them record this for the film that we are watching. It's almost like that we're watching a film within a film. Super cool.

[16:25] Jeff Malone: I liked it. It really just works, you know, and I think.

[16:32] Richie Grasso: When you see some of this stuff like, you know, they're walking behind the stage or you do see the Pussycat Doll ode and it's like, oh, well, yeah, because 15 years ago, Nicole was at her high being in the Pussycat Dolls. She was here. And like, look, what is something like this mean to her as a piece? You know, from being in something like a pop girl group to now trying to have a solo career to them, like being a judge on like the X Factor to now, OK, what am I doing now next in my career? Is this my journey of bringing myself and Sunset Boulevard and Broadway here? Like, did I have to kind of fit this role? And we all know that she was supposed to come and do Grizabella and Cats. Didn't happen.

Now she's doing this. And it's just like, I don't know. I think that this is the role that really fits her personality. Not to mention we and we can't not talk about the orchestra and the orchestrations here yet. All the design, of course. So many of these stripped down revivals make their orchestras a five piece combo band. Not here.

[17:37] Jeff Malone: Thank goodness the orchestra sounded incredible. Yes, it was loud. Yes, it was full. If you watch a silent film, it's old horror, old horror films or old drama. The music is a character. It's so loud because there's almost no dialogue. So it almost was loud for the sense of accenting what was a character in those films. And the full orchestration is stunning. I thought the orchestra sounded amazing and I thought it was wonderful. It makes you feel. You feel the emotions of it. Let's get into some of these actor performances. I want to save Nicole for last. I want to talk about the other three leads here. We have David Baxton playing Max. I loved some of the close ups on him. I thought he had a great voice. Max is a very interesting character. You don't know much about him until the end. I thought he was great.

[18:32] Richie Grasso: And before we get into each one, though, I'm going to give an overall generalized statement here. I think I cared about all four characters more than I ever have in a production of Sunset Boulevard from the way that this was directed and told. Bold statement. What did you think of David as Max?

[18:51] Jeff Malone: I thought he was great. I mean, I think he played that. I think he plays it a little bit on a softer side with angst and anger that really says, yeah, this is my wife. You know, and by the end, you're like, oh, it still has that shock value.

[19:05] Richie Grasso: Mm hmm. And when we go to Betty, played by Grace Hodgett Young, that's someone that I'm blown away by. Incredible vocal. Really, really wonderful. Should be Tony nominated in a supporting role for sure.

[19:21] Jeff Malone: Oh, easily doing wonderful. Listen, when do you ever care about Betty's character?

[19:30] Richie Grasso: Rarely, rarely. Right. I mean, and like and what Grace is doing, the vocals on this alone. Listen, is it the song from Jesus Christ Superstar that you hear over and over again? What what is the song? I don't I don't know how to love it. I don't know.

[19:47] Jeff Malone: Yeah. I mean, it's literally that song over and over again. You hear it throughout the whole thing. I said, oh, Jesus Christ is about to come out on the stage in two seconds. But anyway, I like it. I like the melody of that song. So I don't really have a big problem with it.

[20:01] Richie Grasso: Also, we go to like a star breakout performance by Tom Francis, who is just giving everything there is the stoicness to him and the severity to him. But this also gentle heart at the same time. He's incredible and a Tony nomination for sure, I would hope. And hopefully we keep seeing him on Broadway and London and other places, I think. And this is going to blend into Nicole's performances Norma. I think what's really great is their chemistry was so opposite that you really bought it that she was in love with him and he was not in love with her and he felt bad for her.

[20:25] Jeff Malone: And it felt uncomfortable at times on purpose because it is so uncomfortable, their relationship. And going into Nicole, what I will say is.

[20:50] Richie Grasso: Star. Tony nomination could possibly be a Tony win. The role is there for her. She's bringing everything that she needs to bring. Listen, physicality, acting, singing, dancing, vocal, vocal speaking, vocal singing. I don't know where to stop. I'm telling you that woman is winning the Tony. If she doesn't, I'm going to be a mouse on the floor.

[21:18] Jeff Malone: What do you know? It's interesting because I will say about her as if we never said goodbye, always makes me cry because I feel really, really bad when you see Glenn and Patty and these older women do it. You see.

[21:32] Richie Grasso: She only loved one thing, and it was this place. She's almost romantically in love with her career, that she's as if she never said goodbye. She feels so welcomed and warm. One of the few times you almost feel like maybe she's sane and okay. And I cry because I say, oh my gosh, I feel for her. This performance by Nicole, I totally felt. But instead, the first time I felt like, oh, she misses this so much that she's now going to own it and control it and say, I've come home at last, and I'm here. Not, I've come home at last, oh, no, no, no, no. I'm here. And I felt like I was there with her. And I felt when she smashes her chest with her hand like that, I said, yes, I'm there with you. I feel it.

And we don't need a big, beautiful headpiece and gown and jewels. We need you to stand there and sing this one of the greatest musical theater songs. Yeah. Well, that's a big thing that you have to kind of say, how many leading ladies go through something like this? In music or film or theater? When you have the Joan Crawfords, you have the Bette Davis, you have the Judy Garland, the list goes on and on of people that were at such a high in their career. And the industry kind of just says, goodbye. They're not ready to go. And the song is as if we never said goodbye. Yeah. Because she's admitting that she did say goodbye at some point. And her feelings are there. And I just feel like she's there with us.

She's just, I do think With One Look is also a pretty iconic moment, too. But those two songs just stop the show, literally stop. But I also felt a bigger thing that they highlight in this production that I never really probably felt before. And like the last one that we saw with Glenn was this whole word around surrender and not surrendering, who surrenders and the people in her life that do surrender. And when they take the mic off, it's like, oh, they're out of the movie now. The character has stopped acting. The character is gone and she's left. And that blood on the mouth and the chest is like, how did she kill him? How did she get the blood on her? What the heck just happened? I love that, like, horror filly of the act. Right. Well, let's kind of go into our own experience with this show, some Tony talk. But first, here are a few messages from our sponsors.

[24:05] Jeff Malone: All right, and we're back. So kind of give me your one, two, three on what you really think is happening in this piece at the end. Just in general, I think that she at the end, she's we know she kills him. Usually she shoots him. There's no gun on stage. She has this blood on her. I think she's having a psychotic break at the end. Yes, I think she killed him. How she did, I don't quite know. Is it his blood on her? Is it symbolic of her blood? Is she dying, too? Is when they say the cameras are here, is she in the film? Have we said, okay, the film is over? Is she a character within a character? It leaves you to ask so many things. And yet I love that open ended feeling of it. Well, I do think that there's a lot here.

And this is probably why a lot of people don't like the overall play of Sunset, the musical of Sunset Boulevard, because I think in the writing, they leave you too open to interpretation. But hey, you and I love that. So let's have fun with it. I think I think this whole time we're here and we're in Norma's mind. And towards the end here, we're really getting into Norma's mind where people related to it, you know, is she does she have a mental issue? Is she crazy? We could just be in Norma's mind. And this is the full film that she's created, that she wanted to star in, that she's, you know, kind of controlling and the people in her life, when she wants them out of the film, or if they leave the film, and when they do that, and why we only see Joe killed is because she kills him out of the film.

Right? Also, there's irony in the fact that this woman sings the way that she does, but she was in silent films her whole life. There's such ironic irony there that like, oh, yeah, maybe in this film, in her mind, she was a singer and could sing, right? I don't know. What's the irony here that she's belting her face off in this whole show, but she was a silent film? That's ironic, I think. And a little, maybe camp element of it. I don't know. But right. But what I'm saying is you asked the question, though, is why we don't really see how she kills and we just see the blood and then he's gone. Mentally, she's killed him. I think that's the whole reason why we don't see a gun, and we don't see him.

And it was smart. It was smart, because you didn't beat the audience over the head with exactly what happened. You left us to wonder, just enough. And it was really great. And transitioning to experiences in the show, listen, the audience is loving this. There's a standing ovation after as if we never said goodbye. Stops the show at the beginning of Act Two. Audience is enjoying this a ton. And yes, this has Tony Awards written all over it, I think. At least tons of nominations, but at least. I mean, right now, in terms of revival, it's getting my pick for Tony. And I keep saying—

[27:12] Richie Grasso: I mean, we haven't seen Gypsy yet, so we can't really compare. Right now, she's getting my Tony for leading actress. I actually think all four of them can potentially be nominated. And listen, the Betty's a standout for me. Everyone, watch your back in this Tony race. Listen, another thing we're going to say here is, this is leading lady Tony here. Because it is a lot. And before we get ready to wrap up, because I know we're just about out of time, I wanted to dive into a little bit of a few Broadway news things that were announced this week. We did have Olivier Award winner Sarah Snook announced for The Picture of Dorian Gray, which is going to be at the Music Box Theatre. This was a big show in London.

I think this is going to be really big here. I believe Sarah Snook was from Succession, I think. Won the Olivier. This is going to be a big show. I'm excited for this. I think this is going to be really great. I'm excited for New York audiences to check this out, which is going to be really, really, really cool.

[28:16] Jeff Malone: Also, we did have a Joey Fatone announcement from NSYNC for N. Juliet coming in January. Hey, it makes sense to put an actual pop star from one of the pop songs into that, I guess. Hey, it's either going to work or it's not. Listen, the music there is for us 90s, 80s, 90s, early 2000s pop kids. So yeah, if we're going to start seeing our pop idols go into the show, it could totally work. Throw Backstreet Boy in there next. Maybe Britney Spears will want to come and do the show. Who knows? Yeah, yeah. Who knows? So there we are.

[28:57] Richie Grasso: Oh, wow. We are just about out of time. We could talk all day long about all this stuff. But let's just give our final wrap up thoughts on the Sunset Boulevard revival, Jeff. This, listen, the reviews came out. They're mixed. I still think that this is the hot ticket of the season. I thought that the reviews were going to be mixed because, you know, these New York reviewers don't always love everything that comes from London. But that being said, everyone I know loves it. The hype is real. I loved it. I enjoyed it. I want to go back and see it again. I probably will go back and see it again. But yeah, go check it out. It's totally doing some wonderful things. It's worth it because not every revival needs to be reimagined like this, for sure.

We said that earlier, right? But this one just worked. When it works, it works. I think this one worked really well. I just love the score. I think Nicole is bringing everything. And I think everyone should go. I think this is going to run well into the spring. So I think people have plenty of months to go check this out. And what I always tell people with expensive tickets to shows, buy it in advance. I remember people like for O'Mary saying in July, oh, they have cheap tickets for October. And then September came and they're like, they're not cheap in October anymore. But you should have bought it. I know that's a difficult purchase to buy that far in advance for some people. But if you want to see Nicole Scherzinger in Sunset Boulevard, go buy a ticket for January if you're seeing cheap tickets for January.

Do you know what I'm saying? That's how I think, is try to buy it in advance. Because you know from now to the holidays, it'll probably be really difficult. So try, if you can, if you're financially able to and time-wise, if you're able to, buy a few months out. Get the good seat, maybe slightly better price. But this is wonderful. And everyone really needs to see this. And Nicole Scherzinger will be back on Broadway again in some way, shape, or form. I'm sure of it. Because the woman knows exactly what she's doing. I'm going to say one last thing, too. I think we have to normalize not saying reimagined productions anymore. I think we just have to call it a production. And everyone kind of needs to stop saying like, oh no, that the original production was the only way that that show is meant to be viewed. Because it's not. This is someone's take on what they think that the production should be. And I think that's okay. And we need to accept that a little bit more in theater.

[31:21] Richie Grasso: Yeah, totally. And if you're a diehard of the original, then don't go see this. You're not going to like it. Unless you love the score, because the score is just so wonderfully sung. Oh, and one last thing. Ensemble, ensemble, ensemble is killing the dancing and the singing in this. I said the same thing about the Cats revival. They're dancing and singing their faces and their bodies like crazy. And so they are in Sunset as well. It's really, really impressive. That does wrap up our discussion on this episode. We hope you enjoyed our deep dive into Sunset Boulevard. We will share the link with ticket information in our description. And remember, we want to hear from you. So continue the conversation with us on Instagram at half hour podcast and let us know your thoughts on Sunset Boulevard.

If you enjoyed our show, please leave us a review. Your feedback helps us bring more theater to you. And remember, you can listen to past episodes and stay tuned for upcoming ones as well. Until next time, I'm Jeff and I'm Richie saying tata for now. Bye.