Live and in person at the CAA Ed Mirvish Theatre, Toronto, playing until Jan. 12, 2025.
Book by John Logan
Based on the motion picture written by Baz Luhrmann and Craig Pearce
Directed by Alex Timbers
Choreography by Sonya Tayeh
Musical supervisor, Co-orchestrator, Arrangements and Additional lyrics by Justin Levine
Scenic design by Derek McLane
Costumes by Catherine Zuber
Lighting by Justin Townsend
Sound by Peter Hylenski
Musical director, Andrew Graham
Cast: Andrew Brewer
Danny Burgos
Nick Rashad Burroughs
Christian Douglas
AK Naderer
Robert Petkoff
Adrianna Rosario
And a really large chorus.
Loud, over-the-top-dazzling, vibrantly performed and a story so flimsy it’s like tattered gossamer swaying in the breeze.
The musical Moulin Rouge, is to musical theatre what a Big Mac Meal is to nutritious food—it’s good for a momentary hit of adrenalin/sugar/salt that fools you into thinking there is substance there, but there isn’t. There is just the rush (with bloating) but no substance.
The show is set in 1899 in Paris at the Moulin Rouge and various other locations. The Moulin Rouge was the ‘notorious’ cabaret, the home of the cancan. John Logan’s book revolves around the love-story of Christian (Christian Douglas), a sweet song-writer and Satine (Arianna Rosario), the sensuous star of the Moulin Rouge. The conflict arises when the dastardly, but rich, Duke of Monroth (Andrew Brewer) wants Satine for his mistress. It’s understood that when Satine agrees The Duke will underwrite the failing Moulin Rouge. Harold Zidler (Robert Petkoff) the theatrical owner of the Moulin Rouge is desperate this arrangement goes through. There will be hell to pay if Satine refuses.
John Logan is a good writer who has done better work elsewhere. His book for Moulin Rouge is slight, with precious little character development, if any. For example, there is a character named Toulouse-Lautrec (Nick Rashad Burroughs) that bears no resemblance except in name to the noted French painter and a frequent patron of the Moulin Rouge. The story is stretched and could use tightening.
The gimmick to the show is that snippets of at least 70 rock songs from singers like Lady Gaga, Sia, Katy Perry and Adele to name a few, augment the story and emotion slightly. But they are the same up-beat tempo, and monotonous. The orchestra blares the music, and at one point the bass line is so loud and thumping one gets the sense that one’s internal organs are being rearranged because of the reverb.
Justin Townsend’s lighting is rock-concert-dazzling. Sonya Tayeh’s choreography is complex, lively and arresting. Alex Timbers’ direction/staging keeps everybody moving as if to suggest something is happening. The singing is strong. It’s not the kind of show where one actually would comment on the acting, which seems beside the point, while the frenzy of the piece is.
Moulin Rouge is as empty and bloating as a Big Mac Meal. Please pass the Rolaids.
Mirvish Productions present:
Plays until January 12, 2025.
Running time: 2 hours, 40 minutes (1 intermission)
www.mirvish.com