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

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