Matthew Murphy
In the Summer of 2001, director Baz Luhrmann and 20th Century Fox took a huge gamble on a movie musical like no other, Moulin Rouge!, the third and final act in Luhrmann’s ‘Red Curtain Trilogy’. The film was set in just before the turn of the century (20th century, that is) Paris at the fabled nightclub where the affluent Parisians could mingle with the Bohemians of Montmartre. It starred Ewan McGregor and Nicole Kidman as the unlikely lovers and featured Luhrmann’s trademark, sumptuous production design. What set this musical apart was … the music, entirely anachronistic to the period, employing tunes of the modern era — with a couple of originals — to tell the story. This device split audiences — some people could not accept late 1800s characters singing modern pop tunes — but in the end the film was a success, earning eight Oscar nominations including Best Picture and Best Actress, winning for Art Direction and Costume Design. So it seemed only natural that this film would become a stage musical, and rumors began as early as 2002 that it would.
That apparently sounded easier than it was, especially with the amount of already published music that was required for the show, but a stage production was finally announced in 2016, the show was workshopped in 2017, a pre-Broadway run took place in Boston in the Summer of 2018, and the show finally hit Broadway with the official opening on July 25, 2019. The show was a smash — still running today — and earned 14 Tony Award nominations, winning 10 — the most of any show that year — including Best Musical. The production transformed the Al Hirschfeld Theatre into a theatrical reimagining of the actual Moulin Rouge — still in operation today — so one of the big questions was how will this translate to a touring production which does not have the luxury of completely transforming a theatre? Not to worry, because as soon as you enter you are greeted with a neon ‘Moulin Rouge’ sign on the stage, a small windmill to the left and the front portion of Satine’s elephant quarters to the right. And as showtime approaches, various ‘Moulin Rouge’ performers slink their way onto the stage, two of them even performing a sword swallowing act before the ‘curtain’ goes up.
The show begins with an eye-popping production with ‘Lady Marmalade’ and a medley of songs and a sensory-overloading light show to fully immerse us in the nightclub atmosphere (and if you have a sensitivity to flashing lights, be warned that the opening number alone is chock full of them). It truly is ‘spectacular spectacular’ as the club’s owner Harold Zidler (Austin Durant) launches into the movie’s ‘Because You Can Can Can’ number, and he also introduces us to the story’s three members of the main love triangle: The Duke of Monroth (Andrew Brewer), American songwriter Christian (John Cardoz) and the club’s ‘sparkling diamond’ Satine (Yvette Gonzalez-Nacer). Zidler has set Satine up with the Duke because the club is on the verge of bankruptcy and he wants Satine to charm the Duke into becoming the club’s patron. Satine mistakenly believes Christian is her mark, and some hilarity ensues as he goes on about being from Lima, Ohio and having no money while she still believes he is the man she’s supposed to charm. It all gets blown up when Christian reveals it was his friends Toulouse-Lautrec (normally played by Nick Rashad Burroughs, but understudied by Denzel Tsopnang at our performance) — with whom Satine has a past — and Santiago (Gabe Martínez) who set them up to get his music heard, and then the real Duke is escorted into the room by Zidler. Satine is instantly smitten with Christian, but has to develop a relationship with the Duke or they’ll all be out on the street. As she tries to juggle her romances — both real and manufactured — Christian is on the verge of blowing it all up, and Satine is holding her own secret … and if you know the movie you know how this ends.
I have been so looking forward to seeing Moulin Rouge! The Musical ever since I heard about the Boston production. I hoped the show would be successful enough to tour and here it is. Let me tell you, it does not disappoint. Right from the start you are dazzled with Derek McLane’s production design of the ‘Moulin Rouge’, and then are even more dazzled by the other set-pieces like the Elephant interior (which has an amazing transformation at the end of Act 1), the Bohemians’ apartment, a street scene (which reminded me of the recent production of Les Misérables as the buildings came across the stage from both sides), and the Duke’s palace. It’s all eye-popping and impressive and magical. The sets are also enhanced greatly by the stunning lighting design by Justin Townsend, from the club’s array of lights to just some simple moments with spotlights (my favorite moment was the green lighting that filled the stage during the ‘Green Fairy’ absinthe scene). Costumes, hair and makeup add to the show’s visual splendor, Sonya Tayeh’s choreography is original and creative while including the traditional Can-Can, and Alex Timbers’ direction keeps things moving at such a pace many in the audience were surprised when the first act ended. John Logan’s book is faithful to the movie, especially in the first act — and I am usually disappointed by stage adaptations that have to make odd changes to the story — but also expands on the story in Act 2, really focusing on the love triangle and the production of the show that is supposed to save the club (much different than the movie’s Bollywood-style production). The way Logan — and I’m sure many others — have woven bits and pieces of so many songs into the show (many of which were released in the 17 years since the movie’s premiere), sometimes just using a line or a few words but enough for the audience to chuckle in recognition every time a new song is heard, is a feat unto itself. Of course, as in the movie, the show’s signature original song ‘Come What May’ is in integral part of the story and the two lovers deliver it with power and grace (their rendition of ‘Your Song’ is also quite moving, and their ‘Rolling in the Deep’ is truly powerful).
Matthew Murphy
And speaking of the leads, we’re first introduced to the Duke, and Andrew Brewer cuts a dashing figure and gives off an appropriately aristocratic air. Brewer makes the Duke appear charming, indulging Christian and his friends with their little play, but shows his true colors when he takes the club out from under Zidler and regards it and everyone in it as his property, including Satine. He really is quite menacing (showing a hint of that with his ‘Sympathy for the Devil’ introduction) and Brewer gives a wonderful performance. Sadly the script doesn’t really give us a resolution for his character. He just disappears before the big closing number. John Cardoza’s Christian is a lovable goof at first, an American out of place in Paris and easily drawn in to the Bohemian life with Toulouse-Lautrec and Santiago, who have been attempting to write a show with music (comically trying to figure out what the hills are alive with) and this American songwriter just falls into their laps. His first encounter with Satine is effortlessly comedic but as the character grows through his performance, we become totally invested in the love story, rooting for him to triumph over the villainous Duke. Brewer’s voice is magnificent and powerful, full of emotion particularly during ‘Your Song’ and ‘Come What May’, and his part in ‘Chandelier’ gave me goosebumps with his acting and singing. Just an amazing performance.
Yvette Gonzalez-Nacer does sparkle as Satine, and her entrance on a swing above the stage rivals that of Nicole Kidman’s in the movie, starting with a wonderful rendition of ‘Diamonds Are Forever’ before launching into her signature ‘Diamonds Are a Girl’s Best Friend/Material Girl’ medley. From the moment she starts singing, her voice is smooth and powerful, and she vocally matches Brewer in their duets making sweet music together. Gonzalez-Nacer has the tougher job as Satine, who has to be tender and tough as she deals with Christian, the Duke and Zidler pulling her in all directions. A decision she has to make in Act 2 is shocking, particularly with the venom in her voice, but she also shows us that Satine regrets every word of what she’s said. And her ending … just be prepared for all the emotions to come. A lovely performance all around.
Austin Durant may be the highlight of the show as Harold Zidler, the impresario of the ‘Moulin Rouge’. He is delightful as the ringmaster of the show’s opening number, but Zidler is complicated too, having to put on his ‘show face’ for the employees of the club so they don’t know how dire the situation is, but also showing much tenderness and compassion for Satine and Christian, while also knowing that he needs the Duke to survive. He’s put in a tough position and Durant makes the character totally believable, and he even participates in a bit of the Can-Can later in the show. Nick Rashad Burroughs is the usual Toulouse-Lautrec, but understudy Denzel Tsopnang took on the role at our performance and he was wonderful. The character in the show is not what you would expect for a man who was known to be short of stature (and played by John Leguizamo in the movie), but you quickly forget about that because of the performance as Tsopnang’s Lautrec has to nurture Christian and clash with the Duke, really giving an emotional rendition of ‘Nature Boy’ near the end of Act 1 (the song opens the movie but the new placement here serves the story well). I’m sure Burroughs gives an equally wonderful performance, but Tsopnang did a great job. Gabe Martinez makes the most of the role of Santiago, mostly used for comic relief, but he gets to show off his dance skills in the Act 2 opener as he is choreographing Lautrec’s show to a medley of ‘Bad Romance’, ‘Tainted Love’, ‘Toxic’ and ‘Sweet Dreams (Are Made of This)’. (I thought this tango-ish number was replacing the stunning ‘El Tango de Roxanne’ number from the film, but that is also included in the second act as well!) Libby Lloyd has a small role as showgirl Nini, at first a bit of a bitchy rival to Satine but as Satine gets drawn further in by the Duke, Lloyd softens Nini and she shows us and Satine what a true friend she is, especially as she realizes the secret Satine is keeping from everyone. The rest of the ensemble of performers in the club and throughout the show have to work hard keeping up with Sonya Tayeh’s choreography, and the all do fantastic jobs.
Moulin Rouge! is one of my all-time favorite movies so I had high expectations for Moulin Rouge! The Musical. I can confidently say the show met those expectations, perhaps even exceeding them a bit with the stunning production design and excellent performances, with a story that was reverent enough to the movie while expanding on it to bring more depth to the love story. Moulin Rouge! The Musical is a masterful production all around, and you should definitely make time to see it if you can can can!
Moulin Rouge! The Musical runs about 2 hours and 42 minutes with an intermission. Recommended for ages 12 and up. Please note that this production uses fog, haze, and strobing light effects.
Moulin Rouge! runs through September 24 at Washington DC’s Kennedy Center. Other cities on the schedule include Pittsburgh, Buffalo, Rochester, Hartford, Baltimore, Providence, Columbus, Boston, Tampa, Orlando, Milwaukee and more. Visit the official website for more information. Use our Ticketmaster link to purchase tickets.
“Moulin Rouge!” Trailer
The Kennedy Center
Check our Ticketmaster link for ticket availability.
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