Moulin Rouge! The Musical, Global Creatures & others, Al Hirschfeld Theatre, Wednesday August 21st 2019

Moulin Rouge! The Musical, Global Creatures & others, Al Hirschfeld Theatre, Wednesday August 21st 2019

"Moulin Rouge! The Musical" was presented by Global Creatures and other producers at the Al Hirschfeld Theatre in New York on Wednesday August 21st 2019.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

"Moulin Rouge! The Musical" has Spectacular sets and costumes and the story telling was clearer than the movie. The show is about passion and love, but the show felt dead of emotion. It is a great show with lots of laughs and spectacle, but the show lacks any emotional drama and connection with the audience. I felt a slight of slight emotion once during the show, unlike “Fiddler on the Roof” in Yiddish or “The Prom” where my tears flowed.

"Moulin Rouge! The Musical" is thoroughly worth seeing for the spectacle.

Merchandise for "Moulin Rouge! The Musical" is not cheap.  The picture programme at $25 USD is overpriced.  Yes and you had to pay for a paper carry bag! Or you could buy the more expensive cloth bag.

Sadly, the programme lacks the song list.   So forgive me if I describe a song and you know the correct title. There is a list on the Moulin Rouge Wikipedia  site.  I am not cheating by going there for the songs as I want to describe what I saw and felt.

We sat in our two seats for $635.20 in the front row of the Mezzanine (we call it the Dress Circle.)  I had purchased them within the first hour of tickets going on sale.  This equated to $1068.91 Australian.  I knew that we would not be able to get tickets closer to our travel dates and if you are going to splurge on this show, then do it in style.  By the time we saw the show, our tickets were worth a lot more.

Sadly you could not see the front of the catwalk, nor the stage right alcove below.  I pitied the people sitting behind us as they too would not be able to see also.  For this price, or any price, the design sight-lines should have been given more consideration.

The exterior of the Al Hirschfeld Theatre is elaborately decorated to create the 1899 era.  Upon entering the theatre via security you are immediately transported back in time to 1899 with the decorations.

Entering the theatre you are blown away by the set and the characters on stage parading in their finery.  There is a mix of the aristocracy and the Moulin Rouge performers.  They move and tease the audience with their antics to create an atmosphere unlike many other shows I have seen. Gentle music throbs in the background to enhance the atmosphere.   Two female sword-swallowing performers seduce the audience's attention as the show is about to begin.  It is the most encompassing and immersive pre-show entertainment that I have ever seen.

Scenic Design by Derek McLane is pure Degas and Toulouse-Lautrec.  The Moulin Rouge  illuminated insignia hangs front and centre - not to be missed.  There are at least nine, yes nine chandeliers overhanging the audience.  Some are larger than the others.  

There is a catwalk at the front of the stage that reminds me of "Gypsy" the musical.  Scenery is flown in, as items truck in from the sides.  The central stage raises and lowers to create different areas with or without steps.  The set design is incredibly complex both in construction and application.  In fact the theatre design is so versatile and is a show within itself.

The Moulin Rouge illuminated sign rises to reveal a silhouette of four women.  Seven men watch and the four girls dance.

We are welcomed to the Moulin Rouge by our MC, Harold Zidler played brilliantly by Danny Burstein, as ladies parade.  

There is tinsel that reminds me of "Chicago" finale and also used in "Priscilla Queen of the Desert" and many other musicals.  Tinsel is a staple for the tantalising Moulin Rouge and is not over used in the designs.

Cymbals clang and celebrate the arrival of the Can Can dancers.  Six female dancers tease the audience in an explosion of kicks and skirt rolling.  The six becomes four white and four black Can Can dancers.

The opening is impressively showy and full on.  The opening makes a statement that you will not be disappointed.  It delivers.

The second big number is at 7.11pm.  Wow where is this show going?

Booths truck in from the sides.  They are lush, elegant and private.

We are quickly transported into the story line as we are introduced to the main Bohemian characters of Christian, Toulouse- Lautrec and Santiago.  The trio reminded me of the Three Musketeers.  Immediately I felt the story was clearer than the movie.

The booths truck off and a heart shape moves in to create a frame for the next scene.  

Sparklers fire up.  Thankfully this effect is not overused.

The red curtain comes down and Satine played brilliantly by Karen Olivo flies in via the obligatory swing. (See note and feedback about sight lines!)   Karen Olivo sings and acts well though I felt a lack of empathy for Satine's plight.

The Moulin Rouge sign rises and the customers leave.

Purple lights and tab curtains rise to create a set change to Montmartre hill. 

Wow the scene changes are just so incredible with all production departments contributing to their success.

The Rogers and Hammerstein "Hills are alive" from "The Sound of Music" joke builds until cannot consider another version of the lyrics.  The audience has been mesmerised for the first twenty minutes.  Yes it is only twenty minutes into the show!

Christian played by admirably Aaron Tveit freezes in spotlight to narrate.  His singing at times is a little squeaky and thin.

We are introduced to the dream show called "Bohemian Rhapsody".  Yes there are more hysterical laughs from the audience.  The timing is sublime in this show.

Directed by Alex Timbers, who also directed "Beetlejuice" has the audience in the palm of his hand.  So far this show is better than the movie.  So was his version of "Beetlejuice".  Heavens he is the director to watch in the future.

The trio sing "I've never seen a diamond in the flesh" and it is slick and sharp.  (Forgive me as I do not officially know the names of the songs as they were not listed.  I am only going from my notes of the lyrics.)

The trio discuss what they believe in as other Bohemian characters enter in black and white costumes.  Wow you really feel as if you are entering the world of impressionist painters' palettes.

The set is a Montmartre streetscape and more characters enter.  There are flash-spotlights and the curtain of black and gold lowers.

Satine again enters on a swing from above "Diamonds are forever" and the audience hoots and hollers in delight as it pays homage to Shirley Bassey and the movie.  The setting is black and silver.  Two men lift Satine off the swing.

The scene rapidly changes to a large diamond shaped mini stage.  Six male dancers enter in top hats paying homage to the Golden Age of Hollywood movies.

Six female dancers enter and sing and dance to "Material Girl" that pays homage to Madonna.  The only thing missing was the large gap in her teeth.

We change quickly to "I'm a Single Lady" as they wear Madonna wigs.   They pay homage to Beyonce et al. 

Wow and it is only 7.28pm.

Christian, our narrator is in the Windmill and Satine collapses onstage during her performance.

The lights change to green.  Pause.  Silence.  Purple lights change.

Roses are delivered.

Two diamond trucks enter from the sides.

A costume racks appear.

Breathing as this show has only been going half an hour and is the most amazingly complex production for all departments that I have ever seen.

I could easily see this show again as there is so much detail that has gone into every production department.

I will not go into any more detail.  I am in awe at the complexity of this production and that there is not a hole in the entire production.  You barely have time to breathe, and thankfully there are pauses for the audience to capture your breath.

There is a duel scene.

Satine meets Christian in her dressing room which is inside the elephant.  The scenery change is unbelievable as we have the elephant on our audience right, and now we are inside this dressing room.  Later at the end of act one the set revolves to completely change our perspective of looking into Satine's dressing room from the outside.

There is more drama in this musical than I felt in the movie.  Though I think it still lacks real emotional connection between the characters.

Interval:   The Moulin Rouge illuminated sign is lowered.  Music plays on a loop to keep the buzz and atmosphere alive.

I spoke to a guy whilst in the queue to the loo, and I asked him his thoughts.  He said, "it was too commercial and lacked oomph."  I said "it lacks heart and real passion and has no real emotional connection with the audience" and he agreed.

Act Two:  

The lights change suddenly to create an instant revisit to the Moulin Rouge.

A doorbell type ring reminds me of "The Book of Mormon".

Christian continues his narration in spotlight.  Two months have passed and we go backstage to rehearsals.

The Argentinean, Santiago played brilliantly by Ricky Rojas dances with a woman.  The dance is very sexual and dominating.

During the rehearsal one of the funniest moments I thought was when Satine was mouthing the words of the other characters.  It was very clever and no one laughed as there was so much happening on the stage.

Another of the rehearsal scenes includes the heart shaped framing the action.  The Duke of Monroth played by Tam Mutu makes a complaint and I finally start to feel some drama is happening.  There is a pause and silence that cuts the theatre with a knife.

Costume Design by Catherine Zuber is also pure Degas and Toulouse-Lautrec. It is as if we have entered an impressionist's painting.  There are elaborate gowns and tailcoats, corsets, work-wear and costumes for the performers as well as fetish type clothing.

There is a section in Act Two that reminded me of "My Fair Lady" in the mauve, pink and blue tone costumes.

The mind bending scene with the drinking of Absinthe is well staged for the theatre.  Though, it does not have the same impact as the movie, the scene is more succinct.  The lighting and staging makes this scene easier to follow compared to the movie.

Finally I feel some empathy in the next scene when the Duke makes a threat and the action that ensues.  You could again cut the air with a knife as the audience is spellbound.

The final scene is moving and finally I feel some emotional response.  No tears for me though.  There should be as I cry quite easily if I feel an emotional connection between characters.

Choreographed by Sonya Tayeh has created iconic sensual moves on an array of body shapes.  Some of the male dancers are so pumped up that I doubt these body shapes were dancing at the Moulin Rouge during the set period of 1899.

Sony Tayeh There are tributes to so many films and musicals during some moments to more extended scenes.  One of the more extended sequences pays homage to Gene Kelly in both "An American In Paris" and "Singing In The Rain".  Sonya Tayeh also pays homage to John Cranko's "Romeo and Juliet" with the port de bras creating a heart shape.

Lighting Design by Justin Townsend is breath taking to say the least as he captures the impressionist palette but also the various light and shade of the seedier side of Paris.  Lighting clearly articulates each location with suitable atmospheres.  Spotlights are used to emphasise when we are getting into a character's personal thoughts.  The lights change very deliberately from tones of red, blue, purple and white to create many different moods.

Music Supervision, Orchestrations, Arrangements and Additional Lyrics are by Justin Levine.  While the Music Direction and Additional Arrangements are by Cian McCarthy.  The music is instantly recognisable but is too electronic for my taste.  I wanted a full orchestra to really appreciate the soaring themes of the music.  During the show, I kept visualising and sonifying (the hearing version of visualising anyway) the Melbourne Symphony Orchestra playing this beautiful score.

FINALE:

The finale is a party with a great dance number.  The audience are up on their feet.

The finale also pays tribute to “Billy Elliot The Musical” when all of the male dancers appear in tutus. In “Billy Elliot The Musical” the men all tap dance in the finale, while here they do a Can Can dance.

CONCERN:
As "Moulin Rouge! The Musical" has been announced the next production will play in Melbourne at The Regent Theatre. I am so curious about the renovations at The Regent Theatre in Melbourne as they extend the Dress Circle closer to the stage. I am concerned as the back Stalls area will not be able to see the height of the stage and also the entrance of Satine as she is lowered by the trapeze. I hope they have cheaper tickets at the back of the theatre.  This concern also applies to “Billy Elliot The Musical” as I concerned those in the rear stalls may not see some of the action.

We both gave "Moulin Rouge! The Musical" an 8.5/10.

We saw "Moulin Rouge! The Musical" on Broadway on Wednesday August 21st 2019.

Feedback to Moulin Rouge survey:

We had front row tickets in the Mezzanine and we could not see stage right below nor could we see the front of the catwalk. CHECK the sight lines as Hal Prince would do from every seat. At $299US a ticket this is not good enough. Also for a show about passion and love, it felt dead and lacked emotion. I felt one twang during the last 20 minutes. I cry easily and get very emotional during shows and here I felt dead. We loved the show, but the music sounded too electronic and needed a richer sound. Please ensure that the renovations of The Regent Theatre  Melbourne allow viewers to see the top of the stage for Satine’s entrances. Make sure they get the sight lines right. I have already shared this on Facebook.

Congratulations as we did not like the movie and this show is better than the movie. We felt the same about "Beetlejuice" and Alex Timbers is a genius.

The show will look great in the current Regent Theatre. We hope they do not destroy the theatre seats and sight lines.

My predictions for the Australian cast include:

Satine either Alinta Chidzey or Natalie Mendoza.

Christian - David Harris

Harold - Richard Piper or Greg Stone

The Duke - Greg Stone

Toulouse-Latrec - Bert La Bonte