Susan Granger’s review of “Moulin Rouge! The Musical” (Al Hirschfeld Theater)
Based on Baz Luhrmann’s 2001 movie starring Nicole Kidman and Ewan McGregor, this hyper-stylish musical adaptation re-envisions the bohemian love story, set in turn-of-the-century Paris.
“What was really challenging about the adaptation process was wanting to nurture the intimacy, the romance, the poetry but also create something that had the kinetics and the electricity that the film has in spades,” confesses director Alex Timbers.
The result is a dazzling sensory overload that begins the moment the audience enters the theater, which set designer Derek McLane and lighting designer Justin Townsend have transformed into a gaudy, decadent Montmartre nightclub that caters to men’s carnal fantasies.
Even before the show begins, the audience sees a sparkling windmill in one mezzanine box and a huge blue elephant in the opposite one, along with strutting, sexy chorus girls/boys and a pair of sultry sword swallowers, lavishly costumed by Catherine Zuber.
“Welcome, you gorgeous collection of reprobates and rascals, artistes and arrivistes, soubrettes and sodomites. No matter your sin, you’re welcome here,” intones sleazy impresario Harold Zindler (Danny Burstein), evoking vintage memories of Joel Grey/Alan Cumming in “Cabaret”
The hackneyed plot involves a curious turn of events in which both Christian (Aaron Tveit), the earnest-yet-penniless American songwriter from Lima, Ohio, and the powerful Duke of Monroth (Tim Mutu) are after the same chanteuse/courtesan, Satine (Karen Olivo), who suffers from consumption. And while Zidler understands Satine’s feelings for Christian, he needs the Duke’s financial backing if the bankrupt club is to stay open.
Of course there are can-can dancers and an ever-present incarnation of Toulouse-Lautrec (Sahr Ngaujah). Unfortunately, John Logan’s insipid book is burdened by clichés.
In short: it’s a visual spectacle, featuring a pop score of 70 hits – snippets from Adele, Lady Gaga, the Rolling Stones and more – painstakingly assembled by musical supervisor Justin Levine and performed by an energetic cast that elevates a languid second act with a rousing curtain call.