In “Gypsy” three strippers explain the key to success by singing “You Gotta Get a Gimmick.” Lately that seems to be the theme of Broadway revivals. The goal is to differentiate the show from the original.

And true to form the recent revival of “Sunset Blvd” directed by Jamie Lloyd is a musical filled with gimmicks. The most obvious one is the use of a giant screen behind the performers. Much of the play is projected on the giant screen by stagehands with Steadicams. The show IS about silent pictures and the golden age of movies when there was no sound and overly expressive faces were vital. Yet this device is overused and often the images on screen are huge and the images are too close. You can see the performers microphones, their makeup and any skin imperfections.

Reviving her award-winning performance from the West End, Nicole Scherzinger gives a fantastic performance as Norma Desmond, a reclusive silent film star living in a mansion on the fabled Sunset Boulevard. Her estate is vast but somewhat rundown. Joe Gilliis (Tom Francis,) an out of work, out of luck writer, eventually comes to live with her. Yet we see nothing of it. Mostly, we see Gillis on the back lot of the studio, often shrouded by an over-used fog machine.

There are no elaborate colorful costumes, but instead the entire cast is wearing black and white. Is that because the films of the era were shot that way? The lack of settings and costumes is, in a sense, a gimmick.

The overture to Act II begins with Francis running backstage, down the steps, past dressing rooms and eventually out into the street. Steadicams running with him, we see him singing, rushing onto 44st and then back into the theater on back on stage.

I don’t mind gimmickry for a purpose but this show overdoes it, especially at the very end when Norma Desmond, now somewhat crazed and bloodied having killed Joe, poses for the camera and utters the iconic line, ”Mr. DeMille, I’m ready for my close up.”

In the classic 1950 Billy Wilder movie, Norma’s close-up is one of the most famous scenes of the film, yet in the show it was just another closeup.

The show with its familiar music by Andrew Lloyd Webber and book & lyrics by Don Black & Christopher Hampton is a classic in its own right. The theater at the performance I attended was packed with Scherzinger fans and her rendition of “With One Look” drew a standing ovation in the first act. One of the most stirring numbers was “As If We Never Said Goodbye” and her rendition was impressive.

It was easy to see how Scherzinger has amassed such a loyal and large fan base. She's a beautifully graceful dancer and an incredibly powerful singer. Making his Broadway debut, Francis gives an accomplished performance. His dismissive attitude towards the aging Desmond was done well-enough to have me dislike the character. His singing is good, and he’s got a good stage presence. I particularly liked David Thaxton who plays Max, Norma’s former- director, husband, butler. With his deep sonorous voice and ominous presence, he is slightly eerie.

Desmond is a character living in the past and losing her mind and some of Lloyd's staging, including a silly dance with Joe, cause some in the audience to laugh at her. She is a character to be pitied, not laughed at.

Fortunately, the show revolves around Norma and Scherzinger does not disappoint. Not being familiar at all with Scherzinger, I had few expectations but was blown away by her beauty, talent and grace. When you have a star like that and skilled performers, you don’t need gimmicks.