Twenty years ago, I produced the Rich Weirdoes’ Rocky Horror Picture Show-style interactive “shadowcast” of Moulin Rouge!, which enjoyed an extended run at Universal Orlando’s Cineplex despite cease-and-desist demands from the namesake nightclub in Paris. Ever since then, I’ve been eagerly waiting for a large-scale live theatrical production that would capture the manic ebullience of Baz Luhrmann’s 2001 movie-musical on the stage. And after finally getting to see the Tony Award-winning Moulin Rouge! The Musical on tour at Orlando’s Dr. Phillips Center … well, I’m still waiting.
Writer John Logan’s book adapts the original screenplay’s broad beats fairly faithfully, following the clandestine love affair that poverty-stricken songwriter Christian (Christian Douglas) conducts with consumptive courtesan Satine (Gabrielle McClinton) under the mustachioed nose of her lecherous patron, the Duke (Andrew Brewer). Their tragic tale still plays out against a surrealistic cyclorama of glamorous romanticism, and remains populated by a cast of colorful supporting characters: bitter backup dancer Nini (Sarah Bowden), Santiago the unintelligible Argentinian (Danny Burgos), idealistic artist Toulouse-Lautrec (Nick Rashad Burroughs) and especially the incorrigible emcee, Harold Zidler (Robert Petkoff, channeling a pre-transition Eddie Izzard). The secondary characters have received expanded backstories, but those mostly serve to sand off their quirky rough edges and create credulity-stretching connections to the leads, who both have radiant stage presences, but share minimal sexual chemistry.
Thankfully, the majority of the memorable songs featured on the movie’s soundtrack have successfully made their way into the stage version, from the curtain-raising “Lady Marmalade” and a dynamite “Diamonds Are a Girl’s Best Friend” to soaring versions of “Your Song” and “Heroes.” (“Come What May,” the soundtrack’s original duet, actually sounds even better here than it does on the DVD, but “Like a Virgin” is MIA and sorely missed.) However, those musical holdovers — which were all classic hits before being covered in the film — now make up barely half of the show’s setlist. The remainder of the musical selections shuffle randomly through post-millennial pop hits like a malfunctioning Zune, including “Firework,” “Bad Romance,” “Single Ladies” and “Chandelier,” somehow sounding even more absurdly anachronistic than the original tunes did.
Although there is no elephant in the room, nor a windmill — as were installed in Broadway’s box seats — designer Derek McLane otherwise appears to have spared no expense making the touring company’s sumptuous Belle Epoque scenery just as spectacularly spectacular as its New York sibling. Glittering costumes by Catherine Zuber pay eye-popping homage to the Oscar-winning original wardrobe by Catherine Martin and Angus Strathie; Justin Townsend’s lighting and Peter Hylenski’s sound have more in common with a megawatt rock concert than your typical musical.
The performers and craftspeople behind Moulin Rouge all earned my applause with their efforts, so I must credit Alex Timbers’ direction for my utter emotional uninvolvement in this anxiously anticipated production. From the start, the flat pacing and arch tone failed to replicate the propulsive, earnest energy of the original movie’s opening reels, and nearly every musical number outstayed its welcome. The sense of urgency and investment improves during the shorter second act, and audience members who aren’t already deeply invested in the source material should at least be able to enjoy this dazzling distraction on a surface level. But out of the countless incarnations of Moulin Rouge I’ve attended, this was the first that ever left me with entirely dry eyes.
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