BRUNSWICK

The winding twists and turns of California’s entertainment industry may seem like an undesirable roller coaster ride to many.

But “Sunset Boulevard,” Maine State Music Theatre’s third offering in its 2012 season, provides a two-act set of highs and lows that provide high drama without the highstakes investment.

Directed by Marc Robin and produced in association with Fulton Theatre in Lancaster, Pa., “Sunset Boulevard” follows the story of Joe Gillis, a talented albeit underemployed screen writer caught between the design to self-express and sell-out; Norma Desmond, a seasoned and emotionally manipulative actress whose Hollywood star may have already risen and fallen; and the tangled trajectory of not only their ambition but that of anyone who may get swept up in the pair’s wake.

Denise Whelan makes quite the striking MSMT debut as the tragic Norma. As this is the fiery actresses’ only MSMT show this season, taking a stroll down Sunset for the sake of Whelan’s turbulent but magnetic company alone may be worth the price of admission.

Even while saddled with clichés such as “I am big, it’s just the pictures that got small,” Whelan still seductively growls her way into adoration. Her charisma as a performer, often leaving her stock still in indulgently (and appropriately) melodramatic stances while riding out enthusiastic applause from the audience, was perfect for the mercurial maven she portrayed.

However, her calculated expressions of fear and insecurity seemed at times perhaps too unrelenting (her subtle yet acute portrayal of more unembellished emotions slipping through only once or twice). That being said, her character demanded a knack for overdramatic manipulation. And Whelan’s chops (both as an actor and vocalist) carried much of the show’s momentum.

Gregg Goodbrod (previous MSMT credits including “Jesus Christ Superstar” and “Grand Hotel”) offers up an amicable Joe, hitting his stride in particular during the second act title opener “Sunset Boulevard.” His affable interactions with studio staffer Betty, presumably a glimpse at his younger, more optimistic self, bring out Goodbrod’s knack for conversational ease.

Meanwhile Betty, portrayed with a disarming earnestness by Lauren Blackman in her MSMT debut, not only added vocal richness to crowd-pleasing numbers such as “Too Much Love to Care,” but a laudable amount of groundedness to a world that can so easily slip off into heavy, melodramatic clouds.

David Girolmo, the smoothvoiced and ever in control Max, brought a commanding and yet gentle touch to Norma’s incredibly complicated primary house staff. His inviting baritone and cutting simplicity only enhanced the multi-layered character he inhabited.

Also praise-worthy was Bill Nobel’s turn — and Maine State Music Theatre debut — as Cecil B. DeMille. Just as was likely the case with the actual legendary Hollywood director, Nobel’s performance was pure unassailable presence, offset but just the right amount of charm.

The show is blessed with a notably strong ensemble, which is hardly surprising considering it consists of so many welcome MSMT mainstays. While favorites such as Charis Leos (“Always, Patsy Cline” and “Dirty Rotten Scoundrels,” among others) and Chuck Ragsdale (“Dirty Rotten Scoundrels,” “The Producers,” and “Spamalot,” among others) may not have spent much time on stage, their presence provided delicious little treats throughout the performance.

A few MSMT newcomers also rounded out an on-point supporting cast, with Courtney Romano notably adding an extra dose of energy and goofy charm throughout — especially in the closing number of the first act.

The production’s primary set — a luxurious display of marble stairs, dark wood paneling, wine-colored brocade walls, dozens of framed old Hollywood headshots featuring Norma’s penetrating gaze, and so much more — earned applause from Thursday’s opening night audience. That it was featured with other scenic more comparatively stylized scenic elements (a 2- D, brush-stroke sunset-andpalm silhouette scrim, namely) was admittedly inconsistent.

Either element alone would have stood easily and solidly — the detailed interior set perfectly decadent and the palm scrim spirited and sensibly utilitarian. But the two together had the unfortunate effect of pairing a vintage Valentino gown with a pair of tennis shoes.

Kurt Alger, MSMT’s resident costume and wig designer for the season, pulled out all the stops for the production, and for Norma in particular. The tragic heroine, rarely seen in anything that wasn’t glittering or decisively floor sweeping, became all that much more dynamic and idyllic in the ensembles she graced the stage in.

Ranging from metallic brocade to multi-layered fur, Norma’s mythology was enhanced three-fold by Alger’s sartorial choices.

Finally, MSMT’s production is indebted to the detailed lighting designs of Nick Cyr. From the violet tones creeping in to a New Year’s night to the banded rays of light pouring down overhead in the Hollywood studios, Cyr’s knack for nuance will hopefully not go unsung.

“Sunset Boulevard” teeters a tad too much on the line between glitzily melodramatic thriller and cheesily indulgent melodrama, but the theatrical spectacle delivers. And, more importantly, the production’s talent is undeniably ever-present.

PERFORMANCES run through Aug. 4. All shows take place in Pickard Theater, 1 Bath Road. Ticket prices range from $36 to $59 and can be purchased by calling the box office at 725-8769 or by visiting www.msmt.org. A pay-what-you-can admission special will be offered today. It cannot be combined with other offers or be used to replace already purchased tickets.