NEW YORK — Nicole Scherzinger is poised for her close-up.

Back in the early 2000s, the pop singer gained worldwide fame as the frontwoman for the Pussycat Dolls, achieving seven Top 20 hits. She attempted to transition to a solo career but faced several setbacks with her singles and brief television roles. However, she took London by storm last year in “Sunset Boulevard,” a bold reinterpretation of Andrew Lloyd Webber’s Broadway musical from 1994.

This revival, which debuted on October 20 at New York’s St. James Theatre, is quickly becoming a buzz-worthy sensation, and rightfully so. Scherzinger delivers a performance that is both stunning and dynamic, although Jamie Lloyd’s somewhat empty direction doesn’t always match her overwhelming talent.

Similar to the classic 1950 film featuring Gloria Swanson and William Holden, “Sunset Boulevard” tells the story of Norma Desmond (Scherzinger), a silenced star from the silent film era, who desperately clings to her past fame. When Joe Gillis (Tom Francis), a struggling screenwriter, arrives at her mansion, she persuades him to help her revive a poorly written script for her return to the silver screen.

The show, like the film, doesn’t shy away from a tragic end. (Joe, for instance, makes a grim entrance by climbing out of a body bag at the start.) Scherzinger’s portrayal of Norma’s rapid descent into madness is nothing short of mesmerizing. As she takes over from Glenn Close, who originated the role on Broadway, Scherzinger brings an otherworldly quality to Norma that belies a much deeper sadness beneath her extravagant charm. While she can be theatrical and volatile, she also exhibits a subtle fragility.

The singer captivated the audience with mid-show standing ovations during both of Norma’s iconic ballads: “With One Look” and “As If We Never Said Goodbye,” both performed with remarkable intensity. However, it is during the more delicate “New Ways to Dream,” where Norma faces her younger self (Hannah Yun Chamberlain) in a raw moment played live and projected on a massive backdrop, that Scherzinger truly shines. This poignant visual brings Norma’s inner turmoil and longing to life in a haunting manner.

Scherzinger’s impactful performance is a testament to her strong stage presence, especially as Lloyd’s somewhat unclear vision for the revival occasionally conflicts with the original material. The modernized interpretation often appears to view Norma through a dismissive lens, portraying her as a faded socialite: posing for cameras, showcasing viral dance moves, and adopting an exaggerated vocal style filled with trendy slang about astrological signs. (With her understated look and damp hair, she could easily pass as a member of the Kardashian family.)

Consequently, there’s a noticeable disconnect when she sings about setting “the screen aflame” or evoking “tears from the world” with a mere glance. Does Lloyd see Norma as someone who was ever truly exceptional, or merely as someone who has been out of touch with her own celebrity?

Reimagining Norma as a tragic figure of the TikTok generation is an intriguing interpretation. However, it tends to strip away some emotional depth: For a large part of Act 1, Norma’s over-the-top antics and diva-like demands come across as humorous. So, when she finally steps onto a film set and joyfully declares she’s “home at last,” one could question whether she actually knows where she is. In many respects, this version of Norma fits more seamlessly into a show like “Selling Sunset” than “Sunset Boulevard.”

Reducing the production also exposes several flaws that are widely recognized within the show. Besides a few standout songs, “Sunset Boulevard” has always been…
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One of Webber’s more forgettable musical scores is found here. The production tends to lose momentum when Norma is not present, as a group of aspiring performers, dressed in cargo pants and hoodies, hunt for their next opportunity. The relationship between Joe and the innocent script editor Betty Schaefer (Grace Hodgett Young) lacks chemistry. However, David Thaxton shines as Max von Mayerling, Norma’s devoted yet predatory butler, leaving a memorable impression.

Even with its flaws, the show is a visual spectacle. Nathan Amzi and Joe Ransom expertly weave video elements into the performance, using handheld cameras to capture key moments both on and off the stage, displaying the actors’ expressions in black and white on a large screen. Jack Knowles’s striking lighting combined with Adam Fisher’s immersive sound design creates a rich cinematic atmosphere, punctuated with opening and closing credits reminiscent of classic film noir.

In one of the most impressive scenes, the compelling Francis moves through backstage dressing rooms and then steps onto the street to perform the title song. Real-time cameras trail him as he walks through Times Square, passing cars and bystanders, glancing at a poster of Scherzinger before heading back to the St. James theater. This impressive display of choreography and artistry serves as a striking reminder of the power of theater.

Through its ups and downs, “Sunset Boulevard” presents unique perspectives on dreaming. However, it often feels like a lackluster experience.