In the opening moments of "Sunset Boulevard," a woman wearing sunglasses and a turban sings to a dead monkey.

She then makes it clear she's the greatest film star in the world and announces her next project is to play a teenage temptress, despite the fact she's pushing 50. Oh, and yes, no less than Cecil B. DeMille is going to direct. After all, her adoring public is waiting.

Welcome to the sad, mad world of Norma Desmond, forgotten silent movie legend, whose delusional world comes to twisted and triumphant life at the Fulton Opera House.

"Sunset Boulevard," composed by the ever-prolific Andrew Lloyd Webber, is a showcase for big songs and big dreams — not to mention one very big role in the form of Norma, a diva dream part if there ever was one.

Gloria Swanson herself played Norma in the original 1950 Billy Wilder film that became the basis for this musical. Stage stars from Patti LuPone to Betty Buckley to Glenn Close have sunk their teeth into it, turbans and all, with each actress putting her own stamp on Miss Desmond's desperate dilemma to be remembered.

That means Denise Whelan has formidable shoes to fill; and she does so, with aplomb. Norma can't conceive of being out of the spotlight, and audiences might feel the same way when Whelan is not on stage. One awaits her return, just like the movie fans of Norma's imagination. (Bolstering this sense of anticipation, by the way, is Whelan's jaw-dropping costumes, crafted under the direction of Fulton costumer Beth Dunkelberger. Acres of gold lamé shimmer on the stage).

In no way does Whelan's magnetism impugn the talents of her co-stars, who provide not merely admirable support, but are as good as Whelan in their own way. It's just that the lives of their characters revolve directly and indirectly around Norma, and so does this lush, sweeping production.

Set in 1949 and1950, the story centers on how a luckless Hollywood writer named Joe Gillis literally stumbles into Norma's life, which she lives out in a moldy mansion. Joe is played by longtime leading man Curt Dale Clark, who recently helped crack up audiences as the amiable Corny Collins in "Hairspray." In "Sunset Boulevard," he plays Joe with a mixture of bemusement, bewilderment, concern and exasperation.

And who wouldn't react that way, after taking refuge in what is thought to be an abandoned Los Angeles palazzo but turns out to be Norma's domain? Joe's first sight of Norma is the macabre sight of her prostrating herself over a baby carriage containing the remains of her deceased pet chimpanzee. If one can forget the object of Norma's grief, Whelan's first number, "Surrender," is a touching, poignant song that forms a kind of theme throughout the show.

Norma is about to have Joe ejected from the premises when she finds out he is a writer. Would he like to work on a long-in-progress script penned by Norma herself? It's a wretched mess of a project, in which Norma will play Salome, underage siren of the Bible.

Never mind that Norma crossed the threshold of youth decades ago. Yet it's at this moment that Whelan's Norma beguiles Joe — and the audience — with the first of what will be two show-stopping numbers, "With One Look," a soaring salute to lost dreams and a hunger to be loved.

Joe knows Norma is not all there, but she offers money and lavish gifts. Joe is becoming a kept man, and part of him doesn't care.

Not that Joe and Norma are alone in this petrified paradise. Norma has a devoted — way too devoted — servant, the mysterious Max, played with operatic dignity by David Girolmo. He doesn't get to sing a lot in this production, but his devotion to "Madame" is handsomely evident in Girolmo's own star turn, a number called "The Greatest Star of All."

And while half of Joe is cozy with Norma's largesse, he also longs to get back to hanging out with friends his own age, particularly the comely Betty Schaefer, sweetly brought to the stage by Amanda Rose in her Fulton debut. Betty has big Hollywood dreams of her own, but they are normal compared to Norma's, and it's easy to see why Joe becomes torn. Betty and Joe's number, "Too Much in Love to Care," provides the last moment of brightness in Joe's ever-darkening world.

Norma's web of manipulation hangs over even these pleasant moments in "Sunset Boulevard," but in no way is she crazy-evil. She's like an abandoned child who keeps waiting for those who left her to embrace her again. Never is this sadder than in the evening's other crowd-pleaser, "As If We Never Said Goodbye."

In it, Norma makes what she thinks is a triumphant return to her beloved studio. A cruel twist of fate soon sends her completely off the deep end, resulting in that famous ending that fans of the movie "Sunset Boulevard," reprised here, know and love, complete with that line about a "close-up." It's a diva moment in a divine production.

"Sunset Boulevard" runs through April 1 at Fulton Opera House, 12 N. Prince St., in downtown Lancaster. For tickets and showtimes, call 397-7425 or visit thefulton.org.