’MOULIN ROUGE’ PROVES THAT YOU CAN-CAN-CAN
REVIEW: MOULIN ROUGE
BY RYAN M. LUEVANO
In the ever-growing cannon of jukebox musicals (e.g., Rock of Ages, The Boy from Oz, All Shook Up, Jersey Boys etc.) Moulin Rouge takes the cake—as a matter of fact it is the cake. Moulin Rouge is a jukebox musical of a jukebox musical film. The multi-award-winning musical (including a Tony for Best Musical) tells the same love story set in Montmartre Quarter of Paris using both original songs and popular music ranging from Beyoncé to Lady Gaga.
Whereas the epic postmodern inspired film exploited pop songs, celebrities, cinema visual splendor, fragmentation and juxtaposition, the musical exploits every aspect of a live theatre show to tell the “story”, perhaps even distract audiences from the lack of story—and no one’s complaining.
Moulin Rouge the musical is a giant carousel of pumping pop music, dance, visual splendor and decadent design all around. The music starts off with a bang in the opening number “Welcome to the Moulin Rouge!” that fires of pop hit after pop hit with extravagant choreography, sexy costumes and set magic.
Choreographer Sonya Tayeh has choreographed a marathon of a dance show with finesse. Almost every number employs the full company’s test of their dancing bravura, and they pass with flying colors. From the opening number to “Elephant Love Medley” that closes the first act; then “Backstage Romance” at the top of act two; and finally, “More More More!” that closes the show, it’s all fantastic. Every dance seems to build and build so our excitement never wanes.
The set design by Derek McLane brings a panorama of cinematic detail to the stage. From scene to scene, we are transported not only to time and place, but to mood as well. Vibrant colors, decadent textures, dramatic backdrops, detailed locations, and grand pieces all somehow occupy the stage at the Pantages. This feat combined with the striking lighting design by Justin Townsend make the musical superior to the movie.
If this show didn’t have enough moving parts, the costumes by Catherine Zuber are astounding. An attempt to count the number of costume changes would be dizzying. Tuxedos, gowns, period dresses, hats, layered can-can dresses, sexy corsets and more.
Courtney Reed as Satine showcased not only her skill as a singer and dancer especially in “The Sparkling Diamond,” “Firework” and “Your Song,” but also in her ability to navigate the complexity of this showbiz machine of a musical. Conor Ryan as Christian also rose to the occasion as an equal to Reed’s performance and stage energy, “Come What May” was glorious. Austin Durant as Harold Zidler was the charismatic rock of the show. He was the superb master of ceremonies who seemed to be at the helm of this big show clocking in more stage time than anyone else, audiences were always happy to see him.
Bringing the massive film Moulin Rouge to the stage was no easy task, but the creators knew exactly what they were doing because as they’ve successfully created a musical extravaganza with that defies what’s possible on stage—now if only they could find a way to allow the audience to dance along.
MORE INFORMATION:
LOS ANGELES LISTINGS INFORMATION
Dates: NOW THROUGH SEPTEMBER 4, 2022
Theatre: HOLLYWOOD PANTAGES THEATRE
6233 Hollywood Blvd | Los Angeles, CA 90028
Individual Tickets: Individual tickets start at $39
Ticket prices subject to change without notice.
Parental Advisory: Children ages 12 and up.
All patrons must have a ticket, regardless of age.
Runtime: 2 hours and 45 minutes including intermission
Tickets:
Online: BroadwayInHollywood.com or Ticketmaster.com
Phone: 1-800-982-2787
In Person: Hollywood Pantages Theatre Box Office
Visit website for current box office hours.
COSTA MESA LISTINGS INFORMATION
Dates: NOVEMBER 9 to 27, 2022
Theatre: SEGERSTROM CENTER FOR THE ARTS
60 Town Center Drive | Costa Mesa, CA 92626
Individual Tickets: Individual tickets start at $31
Ticket prices subject to change without notice.
Tickets: Online: www.SCFTA.Org
Phone: 1-714-556-2787
