Hairspray. John Frost for Crossroads Live, The Regent Theatre, Wednesday September 7th 2022

I had seen "Hairspray" on Broadway in 2008 and the David Atkins' version at The Princess Theatre, Melbourne in 2010.  I will compare my experience in Melbourne.

I have seen the John Water's 1988 movie, "Hairspray" many times and cry at certain gut-wrenching moments.  I have been moved to tears watching the 2009 movie musical "Hairspray" starring John Travolta and the live television version.  The story is still relevant with its serious themes of racism, segregation and inclusion.

We had front row stalls seats at The Regent Theatre and this proximity revealed some very interesting and disturbing insights.

Congratulations to the newcomer, Camel Rodrigues who played Tracy Turnblad.  She was not helped with an absent sound support from the onset of the show.  The sound quality was appalling.  The clunking sound of the microphones resonated in the speakers about 1.5 metres from our seats.  

Camel Rodrigues played Tracy Turnblad with requisite naivety and innocence, and fire-in-her-belly for equal rights.  

Shane Jacobsen as Edna Turnblad did an adequate job with sincerity.   Usually, this role is taken by a drag performer and here tradition was broken by casting Shane Jacobsen.  His singing was average but so is that of many others who have played Edna.  I thought it was a great marketing move as Shane Jacobsen is iconically Australian and blokey and loveable.  He imbued his adorability into Edna.

Todd McKenney as Wilbur Turnblad sang well and had a great rapport with Shane Jacobsen.  I felt his accent changed and he lacked the eccentricity of Wilbur.

One highlight was the duet "(You're) Timeless to me" between Shane Jacobsen and Todd McKenney.  It is a traditional vaudeville show stopping number and allows for some improvisation.  The audience loved the pauses for any possible kiss.  On Broadway I felt this was less hammed up and had more of a poignancy and tenderness that made it more emotional. 

Donna Lee as "Female Authority Figure"  Hello!?  She played what was listed as the role of on the IBDB (Internet Broadway Data Base) as "Prudy Pingleton, Gym Teacher, Matron and Denizen of Baltimore".  I thought Donna Lee played each role with distinct characterisations, in particular her physicality in her gait and stance.  I was saddened that each of these roles was not acknowledged in the programme.

Brenda played by Sienna Embrey captured the journey of her character from her first appearance to her exit.  She played the pregnancy aspect with subtlety and sincerity.  It is a small role, and she made the most of it.

Asabi Goodman played Motormouth Maybelle and had a clear powerful voice.  She had an approachable warmth to her character.  It is a pity that she was not supported with the required atmospheres by the ensemble to back her up.

During the record shop scene in Act Two, after when Motormouth Maybelle sang "I knew where I've been", focus was pulled away from her by the antics of three performers upstage right.  This trio were having a joke and created a wave of giggles.  One hid behind their prop suppressing their laughter.  The ripple of giggles continued along to centre stage.  Focus pulling is also called "upstaging".  I could be more specific as to who, but I shall refrain from doing so!

During the final scene two lead performers broke character and had a great laugh downstage right.  They reverted back to their character!

Also, during this final scene two others on downstage right, within three metres of our seats, were having a great little chat!  There is a difference between improvising and having a good old chin-wag!

These moments reminded me of "Head Over Heels" at the Hudson Theatre on Broadway with a very undisciplined ensemble on the evening of our attendance.

Avanda Dlada as Little Inez had a measured performance with the right amount of innocence and hope to warm my heart.

Mackenzie Dunn played Penny Pingleton.  I feel character was not fully developed and she is a fine performer.  I have seen this role played many times and Mackenzie Dunn made decisions for her interpretation of Penny.  My partner missed the point of her inability to hear the bell during the song, "I can hear the bells".    The ugly-duckling version of Penny needed more dorkiness and nerdiness in her posture and voice.  The transformation from ugly -ducking to swan needed greater definition with posture, voice and characterisation; as a costume change was not enough.  Maybe consider finding the “centre” physicality for the character and move from this centre.  I write very specifically for you, as I think you deserve an explanation of to why - you need lots of encouragement for a great career - to not be just good - but to be great!

Javon King as Seaweed J. Stubbs was extremely likeable and compassionate.  I loved the sincerity of his performance and his characterisation.  He worked well with Penny Pingleton played by Mackenzie Dunn.  I loved their rapport and they did not ham it up.  They both played a truthfulness that won me over.  

Sean Johnston as Link Larkin had the requisite smoothness.  Though his character needed more physical and vocal discomfort of supporting "negro day" (the 1962 term).  He sang well and played opposite Tracy Turnblad (Camel Rodrigues) with warmth.

Some performances lacked a distinct nastiness and divisiveness regarding race or weight.  Attempts at these issues were by many of the cast as pedestrian, wooden and shallow.    These important issues felt dumbed down or played in an apologetic manner.  The sense of invasion-of-space and "perceived-superiority" were lacking.  This was most evident in the gym scene, and the television studio and the record store scenes.

Some of the best moments were by the members of the ensemble who were focused and gave their 100%.  I do not know these performers personally and want to thank them for their professionalism:  Joel Granger and others.

The Original Direction by Jack O'Brien was reproduced by Matt Lenz.  The atmospheres for each scene need closer direction to ensure all the cast and ensemble understand what they contribute to each scent to drive the action, and to support the themes, and the story.  Ensemble atmosphere work is required to regain focus and concentration.  Comedic timing was off for most of the performance.  The audience were not flat and quiet - it was for a reason.   It was some of the lacklustre performances!

The Original Choreography by Jerry Mitchell was reproduced by Dominic Shaw.  Part of the choreography is the cheesy-smiling faces, especially when on "The Corny Collins Show".  My suspicions were validated when a few of these performers barely cracked a smile while the others played their over-the-top smiles with the required level.  These performers went on to "walk" or "mark" their performances with the least amount of effort.

The finale had the desired high energy that should have been evident throughout the show.

The contrast between the performers, who danced the choreography and those who "marked" the choreography with minimal effort, was obvious.  No, blatantly obvious!

Singing and harmonies very ordinary for most of the show.  The best harmony was during the soprano backing Motormouth Maybelle during "I know where I've been", and the four men backing with their harmonies with their precise gestural actions.

Musical Direction by Dave Skelton led the band with aplomb.

Sound Design by Steve C. Kennedy and Andrew Keister was very clunky and unlike the clarity I had experienced on my Broadway viewing in 2008.

Set Designs by David Rockwell were recreated well for the Australian season.

Costume Designs by William Ivey Long were recreated with flair.

Lighting Design by Kenneth Posner was well executed. In particular the back lighting for the shadow scenes that play homage to the "Bye Bye Birdie" scaffolding set for "The Telephone Hour".

The famous opening vertical bed scene reminded me of "Poppy" by Graeme Murphy for the Sydney Dance Company.  The dance work was the first time I had seen a bed used this way on stage.  

The production lacked the divisive prejudice theme.  The cast seemed to be walking on eggshells with the real theme of prejudice and segregation. 

I did not feel any compassion for the plight of the segregation that I normally felt with all other productions.

The show lacked the divisiveness and hatred and suspicion of racial prejudice.  The players seemed to be performing a homogenised version as if apologising.  By playing the reality of the ugliness of segregation and the hatred all make the themes resonate more to increase our compassion for equality.

Some of the performances barely made it over the orchestra pit! Heaven forbid if you were sitting in K row or beyond.

To the director, choreographer and producers please sneak in and see a show unannounced!  Also wear a disguise so no one in front of house can notify them backstage!  Please make sure actors stay in character!

The guy sitting next to me decides to pull out his mobile phone at about 8.15pm.  I thought he was checking the time and then proceeded to text.  I shielded the light with my programme, and then I requested he turn off the phone. He turned off the mobile phone thankfully!  "P-TOOL" is my mnemonic for "Please, turn off or leave!"

Sometimes, I regret seeing a show again as it spoils my other viewings.  I put this into perspective by trying to really appreciate the good moments.  So, thank you for those good moments.

My partner gave the show a 4/10 and wanted to leave at interval had I not been in attendance.

I gave the show a very generous 6/10 and that was mainly for the orchestra, sets and lighting and the performers I have highlighted.

Postscript:  I would recommend that Broadway producers consider the David Atkins' version in the future as a revamp for more technology savvy audience members. 

Double postscript:  Please bring back "42 Street" and also stage "Newsies" as it is a great show.  Also, "Murder For Two" is a great musical that should be performed by two highly skilled performers who can also play the piano.  It would be ideal for the Atheneum Theatre of The Comedy Theatre.

Prediction:  I predict Eddie Perfect will play "Beetlejuic" in Australia.  

NOTE:   Apologies as I have deleted any links as three of my previous reviews were deleted. They were reinstated when I removed any links. My links were purely for references.

Girl from the North Country, Comedy Theatre, Wednesday May 25th 2022

We saw “Girl from the North Country” at the Comedy Theatre on Wednesday May 25th 2022 at the 7.30pm performance.

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.

I write my reviews for my own memories as dementia is hereditary on both sides of my family.

I have not seen many shows this year as I was diagnosed very suddenly with advanced prostate cancer surgery on November 30th 2021 and was operated on successfully on January 4th 2022.  Thankfully I am now cleared of cancer.

POTENTIAL SPOILER ALERTS:  Please do not read until you have seen the show.

I missed theatre with COVID restrictions for two years (2020-2021) and I had tickets to so many shows during this period.  Sadly, the timing was awful, due to my surgery I missed the Australian productions of both “Fun Home” and “Jagged Little Pill”, so I was looking forward to seeing something uplifting.  I hesitated wanting to see “Girl from the North Country” due to what I thought were going to be depressing themes, especially the confronting dementia of the Elizabeth Laine character played by Lisa McCune.

I can tell you the Australian production of “Girl from the North Country” is sheer brilliance and lifted my soul to the heavens with gratitude.  It was like the snake salesman with a elixir that actually worked!

Conor McPherson wrote the book, and directed this production with compassion and a depth of understanding of the human condition.  He has used  Bob Dylan’s lyrics and music to not only carry a story but to emotionally transport us in time to fully empathise with the plight of all the characters.
 
This review is different to my other reviews and is my response to the event, without a critical analysis of the story or characters.

You can read the synopsis elsewhere with links to other articles.

I wrote the following on Facebook:
“Bob Dylan fans - go and see “Girl from the North Country” .  You will appreciate the lyrics more than me.  Wow - what performances!
I was shocked my partner gave it 8.5/10.  It is very emotional and what an ending!  My full review for my blog will appear in the next few days.  2022-06-26”

I gave the show a 7/10 as I wish I knew the lyrics better, and I can appreciate why my partner gave it an 8.5/10.  If I knew these lyrics it would have added to the context and the emotional journey/arc for each character and sub plot.

The music and lyrics by Bob Dylan are gut wrenching at times and at other times are full of hope.  The songs are used to assist in telling the stories of many of the characters and most importantly from an emotional connection to the audience.

The following is a recommendation:

The following is a recommendation from the New York Theatre Guide and they succinctly describe why to see the show.

https://www.newyorktheatreguide.com/news-features/a-new-york-theatre-guide-to-girl-from-the-north-country

“Who would we recommend Girl From the North Country to?

Bob Dylan fans that have yet to experience these beautiful new takes on their idol’s greatest hits will surely not be disappointed, along with anyone who likes classic folk music. But for theatregoers who are unfamiliar with the icon’s back catalogue, we’d recommend Girl from the North Country to anyone who has enjoyed Broadway classics the likes of The Iceman Cometh and Long Day’s Journey into Night by Eugene O’Neill, Death of a Salesman and A View from the Bridge by Arthur Miller, or A Streetcar Named Desire and The Glass Menagerie by Tennessee Williams. If you enjoy a drama, you'll love Girl From the North Country.”

I added the following to the above list:  “Carnivale” the television series; and John Steinbeck’s “Of Men and Men” and “The Grapes of Wrath” - either the book, film and/or play versions.

The images and emotions are gut wrenching at times.  The pace is usually slow, ponderous, and considered that is suddenly punctuated by high drama.  The ebb and flows of the lives of the residents are visually represented in the water projection used occasionally.

MICROPHONE STANDS:

When singing at the microphone stands the performers seem to be angels from heaven.  In fact, these microphone stands were the “trumpets from heaven”.   This will make sense when you see it - especially take note of the narrator’s final tale.  It made me think of the neuro-linguist programming device of placement and especially with the microphone stands as props  Yes, it may be a big stretch in my assessment and I could easily see the show again to verify or question my judgement.  Wow - judgement, or final judgement is such an appropriate word for the emotional response I had with these heavenly angelic moments.

These angel like moments were similar to a Greek Chorus.  The ensemble were individual characters who also become scenery, atmospheres and silhouettes.  One of the most obvious was the queue from stage left to right as if on the “susso” queue (sustenance/unemployment/dole”).

When the ensemble gathered in a circle, around a microphone stand upstage-right, they looked down curving their upper backs and created an image of a dome.  My immediate thought was that it reminded me of the Sistine Chapel with the angels over-seeing the earthlings.  What a short but powerful image: of protectors.  I do not know if it was intentional - but WOW - it stirred my soul and warmed my heart.

These gatherings around the microphones also reminded me of the angels of the airwaves - giving hope to their listeners during the depression.  The more I reflect on the show the more I think these microphones were the angels’ trumpets.

The other significance of the use of the microphone stand was the intentional raspy/husky voice by the narrator/Dr Walker (Terence Crawford).  He only used this voice when narrating while using his natural voice during scenes as the doctor.

The show brought up memories of my mother, born in 1926, who lived throughout The Great Depression in Daylesford.  Her mother, my grandmother died in childbirth, both not surviving in November 1933 - the same era as this show.  I was reminded of the many images of my mother's stories and how she must have felt as a child during these times.  These emotions were captured, with rawness and honoured those who suffered, and those who rallied together for support during 1934 by this BRILLIANT cast.  Thank you for honouring Bob Dylan’s lyrics and music, and honouring the battlers from The Great Depression.

MOVEMENT:

Lucy Hind, the Movement Director, has designed and choreographed the movement and dance sequences.  It is not your splashy or usual Broadway dance musical.  The closest recent equivalent would be “Come From Away” with movement sequences and staging.  

The movements rely on folk and country dance styles with an added dimension of a sophisticated vocabulary of gestured choreography.  Gestural dance reminded me of choreography by Pina Bausch, Twyla Tharp and Ted Shawn.  Ted Shawn was a pioneer in this area of dance.

The movement is gesture based, which is appropriate and pays homage to Ted Shawn who had been a dance pioneer in the 1933 to 1940 period with his wife Ruth St Dennis.  He had a male dance troupe in the 1930’s.  Ted Shawn’s book “Every Little Movement” is based on the work of Francois Delsarte and gestures.

Mrs Nielsen played brilliantly by Christina O’Neill had a hiccough with the use of the walking stick in one of the final scenes: she relied on the walking stick, then she wasn’t, then she was.  I am forgiving her as some people, for example Multiple Sclerosis sufferers have good and bad days with their mobility.  I am thinking and hoping Mrs Neilson was having a good mobility day!

Elias wearing a white suit sings “Duquesne Whistle” as if a spiritual homecoming.  This showstopper was full of so much sadness counterpointed with so much joy.  The gestural “dance” had so much depth of meaning with movements referencing respect, ceremony, religions, memories, remembrance, love, compassion and “touch” (both physical and metaphysical).  Wow - I wish I could see it again just to take notes of every gesture from this showstopper, as not one movement was wasted as they had significance that really stirred my inner being.

https://www.rollingstone.com/music/music-news/bob-dylan-musical-duquesne-whistle-performance-1176624/

SOUND:

Sound Design by Simon Baker was natural and I did not feel bombarded by any sound levels.  He captured the “fly-on-wall” voyeurism requisite as we watched and had to carefully listen to the dialogue.  I was so grateful for not having any sound issues with screeching microphones or other annoying sounds.

SCENIC AND COSTUME DESIGN:

Scenic and Costume Designs by Rae Smith were appropriate.  I like the physical set pieces of tables, chairs etc being carried on and off by the cast as it highlighted the era whereby everyone chipped in to help their family, friends and neighbours with chores, crops, food, and sharing resources.

The use of the projections and the black curtain allowed for silhouettes to be created by the ensemble.  At times the ensemble, a Greek Chorus would become part of the set as if trees or bodies in the background.

The see-through large screens also highlighted our sense of voyeurism - peering into the privacy of this motley crew of residents.

Historically, I found some of the shoes and stockings were too new.  Yes, these people had pride but the shoes in particular needed to have been more weather-beaten and used.  Some people could not afford shoes, wore hand-me-downs, or no shoes at all.

The same with some of the women’s costumes.  Plus any stockings would have been a luxury.  Many women used to use different approaches to tan their legs.  In WW11 they used to draw a line up the back of their legs as if wearing stockings.

LIGHTING:

Lighting Design by Mark Henderson had the same appropriate quality as per the sound design.  Here, the lighting design captured that consistent “fly-on-wall” voyeurism requisite as we watched and had to carefully listen to the dialogue.  The lighting gently steered us where to focus rather than creating sharp, jarring lighting changes.  Any sudden changes of lighting had a different purpose that reflected the appropriate mood shift.

The final slow fade-out allowed us, the audience, to relish in our gratitude that we do not live in their circumstances.  It gave us time to remember this moment.  This final fade made my heart swell as tears filled my eyes for these characters.  The final minute paid homage to and reminded me of Brian Friel’s play “Dancing At Lughnasa” where the Northern Ireland characters swayed gently.  I had the same inner glow with the finale of “Girl from the North Country”.

Andrew Ross led the five piece band who central to the show as they are characters witnessing the events and provide both the soundscape and the background music. Some of the actors also play the drums, or piano (if ever so briefly) within the show.  In particular Helen Dallimore and Greg Stone play the drums.  Again “that” microphone came out at the drum kit which again, on reflection highlights the angels and voyeuristic nature of the show.

Again the director used the image of the angel with a trumpet (or microphone) representing Judgement Day or Resurrection.  Oh how appropriate with at least one scene that I will not spoil.

Below are links to angels with trumpet images:

https://www.metmuseum.org/art/collection/search/652575

https://www.cityofgroveok.gov/building/page/angel-blowing-trumpet

The following link is of a statue on a national tour and reminded me of the movement sequence of the “susso” of soup kitchen lines.

https://thecentralminnesotacatholic.org/angels-unawares-sculpture-comes-to-minneapolis-in-august/

CAST:

The cast is a true ensemble with each actor having significance to the story either as a named character with a journey, or as an a support to a story line, or as an atmospheric foundation to support the other performers.  This is one of the finest pieces of Michael Chekhov “atmosphere” works I have seen.  Every ensemble member and the band worked together to create the various atmospheres for each scene.

The singing was heartfelt and deep in emotional connection to the material.  The harmonies were gentle that resonated the simplicity of 1934.  The crackly wireless sounds added to the image of the microphone stands -  as if we were guests in a radio station watching the performers sing live for their radio audience.

I cannot fault any of the singing because any crack (and they were rare) in a voice emphasised the emotion behind each and every song.  The singing was not forced and with a sincerity that I have rarely seen in my 57 years of going to the theatre (since 1965).

There are too many stand out performances to list.  By doing so would spoil some of the action.

I have been lucky to have seen Lisa McCune in at least six musicals and other television shows.  This is easily her finest work as Elizabeth Laine.  Do not get in the way of her character as she is on a mission.  Lisa McCune pays respect and homage to every dementia patient and their families with her realistic performance. Then she slips comfortably and unobtrusively into becoming an ensemble member.

I have also been lucky to see many plays with Greg Stone, Peter Carroll, Helen Dallimore and Peter Kowitz.  Again, what a joy to see such talent all together.  By not mentioning every actor does not in any way diminish their contribution.  Without each and every member of the cast, band, and backstage and front-of-house crews this show would not work.  It is one of the most significant ensemble pieces since “Come From Away" and is up there with the ensemble works that I have seen by the master Peter Brook.

See:  https://www.britannica.com/biography/Peter-Brook

What an ensemble of fine talent and an experience to remember!

SCRIPT/BOOK:

I cringed at the use of the words “gay” and “fuck”.  Yes, historically “gay” changed meaning over time, but it felt wrong in the context.  It was said with the right scornful intent but another disparaging word from 1934 would have had more impact.    For example, faggot, nance, Nancy, nancy-boy or others. Plus, from what I have heard many older people talk about with expletives - the use of  “fuck” would have had your mouth not only washed out with soap but used the washboard to de-scale your tongue!  I understand about updating the language for modern audiences but again each time this expletive was used jarred.

Also refer to the “The Big Book of Filth” by Johnathon Green pages 242.

https://grammar.yourdictionary.com/slang/1930s-slang.html

http://www.unhingedhistorian.com/2013/01/top-ten-awesome-victorian-swear-words.html

The following article states that ‘gay” was used in the USA from 1955. “The Big Book of Filth” says the 1950s.

http://www.todayifoundout.com/index.php/2010/02/how-gay-came-to-mean-homosexual/

Refer washing out your mouth with soap:

https://en.m.wikipedia.org/wiki/Washing_out_the_mouth_with_soap

The programme at $25 was a bit expensive for 28 pages that includes some good background information and cast/creative biographies.  Thankfully, there were only two full paged advertisements.  I would have liked to have the list of understudies or swings.  I enjoyed guessing which actor was the cover/understudy or swing for the lead characters as the list was missing from the programme.

I repeat I wish I could see the show again.

Conor McPherson has written a wonderful story and directed a masterful production and deserves all of its Tony Award nominations.

I gave the show a 7/10 as I wish I knew the lyrics better, and I can appreciate why my partner gave it an 8.5/10.  If I knew these lyrics it would have added to the context and the emotional journey/arc for each character and sub plot - the show may have received a 9/10 or higher.

My score is irrelevant for it is truly a wonderful show.

The Australian website for tickets and information is below:

https://www.northcountry.com.au

Moulin Rouge Melbourne, Global Creatures & others, The Regent Theatre, Thursday April 7th 2022

Moulin Rouge! The Musical. Global Creatures and others, Melbourne, The Regent Theatre, Thursday April 7th 2022

We had seen “Moulin Rouge” two weeks after the official opening on Broadway in August 2019.  I will compare my experience in Melbourne.

The link to my 2019 review is at the end of this review.

In my review from 2019 I had given the Broadway version an 8.5/10.  In Melbourne for the Thursday April 7th performance they receive a 7/10.

Entering The Regent Theatre’s foyer I was in awe of the architecture of the building.  The foyer lacked the decorated atmosphere of the Al Hirschfeld Theatre on Broadway.

Upon entering the Dress Circle I was eager to see the renovations to compare the sight lines.  I was impressed with the seamless renovations that reduce the proximity to the stage and enhance the sense of inclusion to the performers.

I was disappointed with the prologue as on Broadway I remember counting at least fifteen performers seducing and teasing the audience with the pre-show entertainment.  In Melbourne, the maximum of nine performers paraded performing their stylised improvised or choreographed moves.  It lacked the atmosphere of engaging the audience to seduce us and draw us in for an experience.  I remember the taunts and squeals of delight from the audience on Broadway as the performers focused on selling their wares.  At The Regent Theatre, the performers looked disengaged and dismissive bar a few odd moments.  They missed a huge opportunity to create the exciting prologue as occurred on Broadway.

The view from our A 30-31 seats in the Dress Circle were basically the same seats that we had at the Al Hirschfeld Theatre on Broadway.  As I wrote in my original review I knew the set would look better at The Regent Theatre, and I was correct in my judgement.  We did not have to stand (or half stand) to see the catwalk at the front of the stage.

I tested standing to see what I could see comparing it to the 2019 experience.  Here at The Regent Theatre I could see the first ten rows of the Stalls with the same effort required for viewing the catwalk on Broadway.  Hence the Melbourne experience is much better viewing than at the Al Hirschfeld Theatre on Broadway.  I also tested this at interval and at the end of the show, with the views much better value for audience members seated further back in the Dress Circle.  Heaven forbid what the Dress Circle audiences could see behind the A row at the Al Hirschfeld Theatre on Broadway!

Overall, this presents better value for money in Melbourne than on Broadway.

The opening number was flat!  There was no excitement, no fire, nor any electricity.  The dancing in the opening number was very laboured, pedestrian and “marked” at times.  The reason I can say this is when you see one performer who is working the choreography and showing definition and clarity of lines, steps, and movements; and they stand out when another person is “marking” or “going through the basic movements”.

A classic example is the hip-roll-walk.  Well, with some dancers/performers you were lucky to see a hip raised or a roll!

That was the dancing!  The singing was ordinary too!

AND THIS WAS THE OPENING NUMBER!!!!

There were four cast changes for our performance.  

Alinta Chidzey played Satine as I predicted in my 2019 review of the Original Broadway Cast.  I was so pleased to see her and she had more passion than Satine on Broadway, though sadly she cracked on a few notes.  Her relationship with Christian had more passion than those on a Broadway viewing.  She was as good as the Satine on our Broadway experience when you balance the positives and negatives of both performers.

Christian was played by the Principal Cover, Maxwell Simon who struggled with his upper-register notes.  His deep notes were richer, melodic and without any scooping.  His acting performance had more passion than the performer on Broadway, but his singing was overall not to the same standard.

Special mention must go to the understudies who played The Duke (James Bryers) and Toulouse-Lautrec (Jarrod Draper).  Both of these men gave performances with solid characterisations as good as the original Broadway leads.

Joe Donovan filled in for the parts by Jarrod Draper.

Overall I thought the men danced better than the women with more consistent definition of steps, and with the quality and texture of moves and phrases.  Sadly, a lot of the partnering work was not secure enough with the men not getting their centre of gravity prepared sufficiently to support their female partner.  Some of the timing of lifts and partnering was awkward.  I felt there was too much effort being shown in much of the pas de deux/partnering work.

The difference in quality and standard by the female dancers was more glaringly obvious.  For example, a hip-role-walk was executed with definition and precision by a few dancers, while the others varied from a “marked” version to something that was totally unidentifiable!  No, let me be more specific - some of the defined hip-role-walk choreography was hard to detect on a few dancers!  And this was only one step!  Overall the dancing was sloppy and laboured, and needed to be showing less effort.

I can give many other examples as the snap, precision and definition of the whole choreography was lacking.  

The dancing in “El Tango De Roxanne” in the second act finally provided the standard closer (but not close enough) to what I had witnessed on Broadway in August 2019.

The accents varied.  I would barely have known the show was set in Paris from the accents!  One blond female had a strong Australian strine and lacked the “bitchiness” or the characterisation of the Broadway performer.

On three occasions the dialogue was “rote” and not "in the moment" (attentive and listening to their fellow performers).  For example, a performer acknowledged the entrance of another character prior to their appearance (as their back was turned!) Another two example had the performer react prior to the other character saying a line, or doing anything to affect a response.

The best singing was when most of the cast were singing together, though the harmonies were not as rich as our Broadway experience.

Simon Burke played Harold Ziegler nearly as good as Danny Burstein.  The main difference in performances was the supressed desperation for survival of the Moulin Rouge and the future of the cast and artists if they do not acquire funding from The Duke.  Many of the other performers need to have Simon Burke’s energy and polish. 

Each ensemble member on Broadway had defined characters for every entrance and exit.  This was lacking for most of the performers here in Melbourne.

Overall the show lacked fire, electricity and seduction.  This performance lacked the excitement of my 2019 experience.  (Note I have seen some shows multiple times where the better performance was on the second viewing!)

The best part was the superior view from our seats at The Regent Theatre.  Plus, this Melbourne performance had more passion than the performance we saw on Broadway in August 2019.  The sets and costumes looked more sensational on the larger stage at The Regent Theatre particularly with the revolving set-piece.

A side note regarding the revolving bus for “Priscilla Queen of the Desert” looked better at The Regent Theatre compared to the cramped stage of the Palace Theatre on Broadway.  The spaciousness at The Regent Theatre created the sense of isolation in the desert, while on Broadway the bus looked as if it were doing a three-point-turn in the suburbs.  The spaciousness with the “Moulin Rouge” revolving central set-piece at The Regent Theatre created a greater sweeping sense of passion, and swept me away with the Parisian landscape.

Overall, the show needs refining and tightening.

I gave it a 7/10 whereas we gave the Broadway performance of “Moulin Rouge” an 8.5/10.

Below are some of my notes and feedback from 2019:

MINI REVIEW OF MOULIN ROUGE ON BROADWAY:

Spectacular sets and costumes and the story telling was clearer than the movie.  Though the show is about so much passion and love, 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” or “The Prom” where my tears flowed.

Thoroughly worth seeing for the spectacle.

We both gave it 8.5/10.

Survey notes form 2021-08-23

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 Santine’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.

Here is my link to my review on Broadway:

https://raymondstheatrereviews.blogspot.com/2019/09/moulin-rouge-musical-global-creatures.html