Combining and repurposing plots, plays, films and songs can provide new insights into old-age cultural themes, or they can just be a cheap way drawing in audiences for a comfortable, fun, brainless evening. Moulin Rouge, the new Broadway musical based on Baz Luhrmann’s gorgeous but empty 2001 film, falls into the second category in every respect except one—it ain’t cheap. With ticket prices exceeding $500 for premium seats and the least dear running in the triple digits, Moulin Rouge is one of the most expensive shows in recent Broadway history. Is it worth it?
For sheer outrageous spectacle, you definitely get your money’s worth. For a storyline with believable characters and truly moving emotions, not so much. But that doesn’t seem to matter to those who will happily fork over the asked-for price.
The experience begins as patrons enter the Al Hirschfeld Theater, whipping our their phones to take photos and pose for selfies in front of Derek McLane’s dazzling recreation of the infamous Paris nightclub. Chorus members clad in Catherine Zuber’s stunning and scanty costumes stroll on stage for more ogling and snapping. When the show begins, Alex Timbers’ rapid-paced direction and Sonya Tayeb’s athletic choreography move the proceedings along so quickly and entertainingly, you scarcely have time to catch your breath or give the limp storyline a second thought. By the time we get to the joyfully exuberant curtain-call finale, complete with the male dancers in top hats and tutus (my favorite touch), you’re ready to bound to your feet for the obligatory standing ovation (actually well-deserved, given the mostly outstanding performances).
But what, if anything, is the show (or Luhrmann’s film for that matter) all about other than having a good time? Perhaps nothing or just the repetition of cliches about love found in the 70-plus pop songs which make up the jukebox score. (Licensing fees for the cavalcade of Top 40 hits taking up two pages of tiny print in the Playbill is another factor in Moulin’s sky-high tickets.)
John Logan’s book adheres closely to the screenplay by Luhrmann and Craig Pearce which is largely borrowed from the 1852 warhorse, La Dame Aux Camilias later adapted into the opera La Traviata and the Greta Garbo film classic, Camille. In 1899 Paris, penniless American songwriter Christian (Aaron Tveit in fine voice) is engaged in a secret affair with Moulin Rouge headliner Satine (exquisite Karen Olivo) who is kept by the possessive Duke of Monroth (dangerously sexy Tam Mutu). The jealous Duke is bankrolling the nightclub and Christian’s musical—which bears a striking resemblance to the plot of the show containing it. Like a hundred other melodramatic heroines, the noble Satine has a fatal illness, the Duke threatens Christian, and you can guess the outcome.
Fortunately, director Timbers’s slick, sleek production distracts from the book’s shortcomings and the skilled cast invents depths where none exists. Olivo makes the deepest investment, convincingly creating an inner life for this charming courtesan. Not only does she powerfully put over Satine’s socko numbers—melding Marilyn Monroe, Madonna, Beyonce, and Katy Perry yet retaining her own persona—but she imbues the hackneyed tropes with honesty and passion. Aaron Tveit does warble with grace and power, but he fails to supply the necessary electricity to connect with Olivo. Danny Burstein takes up as much slack as possible as Harold, the club’s flamboyant emcee, slyly evoking Joel Grey and Alan Cumming in Cabaret and Ben Vereen and Patina Miller in em>Pippin. Sahr Ngaujah, Ricky Rojas and Robyn Hurder also provide dynamic sparks in supporting roles. Still, Moulin Rouge proves a gorgeous but hollow mashup of well-worn plots and pop hits.
