Moulin Rouge

Moulin Rouge! the musical is a preposterous, delightful over-indulgence. As you enter the auditorium, you are greeted into the Moulin Rouge theatre itself as the set extends to enclose the audience. The design, costume and staging are spectacular. Characters strut the stage in the pre-show as excitement builds. And then the show begins.

The first half follows Baz Luhrmann and Catherine Martin’s original film closely, with songs and quotes of songs piling against each other. Justin Levine threads an intricate tapestry as Music Supervisor/ Orchestrator, so that part of the fun is to identify which song, by whom is being referenced where. Scenic Designer Derek McLane has triumphed with so many iconic pictures recreated, even so far as to reveal the Eiffel Tower on the roof for the Act 1 Finale. Catherine Zuber designed a glorious mix of colour and flair for the costumes. Apt and engaging choreography from Sonya Tayeh shows them off brilliantly. Director Alex Timbers has built a remarkable show, threading the bohemians into the heart of the theatre, but some decisions do not work so well – mainly linked to the plot and the Duke. Allowing the Duke to sing weakens his menace and taking him out of the denouement lessens the drama at the end. The threat and revenge fizzle out.

Bad Romance is a great number to include at the beginning of the second half, but it was Nature Boy which affected me most. Ian Carlyle delivers it beautifully as Toulouse-Lautrec, and his gentle story arc is a delight through the show. Melissa James is a soulful, sexy Satine, torn between new love and her last chance at success. Jamie Muscato is effective as Christian, but does not have the voice to sell Roxanne. He redeems himself with Come What May. Matt Rixon relishes being Harold Zidler, pushing his theatre and the show without pause. Ben Richards makes a plausible Duke in his weakened role. It is the ensemble acting which is the show’s strength, rather than individuals. The leads and smaller roles combine to embody Truth, Beauty, Freedom, and Love in Montmartre of the 1890s.

Whether or not you know the film, this Spectacular Spectacular is not to be missed!

Derek Benfield