Rarely do the arrangers and orchestrators of stage musicals get their dues in print. Until relatively recently there wasn't even a category for them in the annual Broadway Tony Awards. So here's something for Sarah Travis, the arranger and supervisor of the latest import from the miniscule Watermill Theatre at Newbury where the only way to stage musicals at all is to have the cast double as the band. We've seen and heard several examples of her cunning reductionism - most notably the John Doyle directed Sweeney Todd - but this latest incarnation of Andrew Lloyd Webber's best score (well, I for one am certain of it), Sunset Boulevard, is arguably the most successful. If anything her ingenious instrumentation intensifies the sepia, other-worldly quality of ALW's music, lending the key themes a more fragile ephemeral quality. Even the show's most cinemascopic moment - the moment Norma Desmond returns to the studio and is hurled into the spotlight once more - creates the illusion of opulence from only a handful of instruments, the harmony at one point transfixed by a single violin sustained above the stave. That moment, incidentally, magnifies the great song in the show - the stonking "With One Look" - and achieves an emotional uplift that few other Lloyd Webber tunes manage to quite the same degree. As Norma Desmond herself says (and Kathryn Evans is a whisker away from turning herself into a durable stage diva this time around) "I am big. It's the movies that have gotten smaller". So have the shows - but nobody appears to have told Sarah Travis. Good on her.