Why does every other show these days have to use the phrase “The Musical” in its title? I presume it is a dumbed down marketing thing although I’m not convinced anyone would buy tickets to Moulin Rouge! thinking it was a play. Walking into Boston’s gorgeously renovated historic Emerson Colonial Theatre, opulence is the word that comes to mind. Walking to your seat, a sumptuous red valentine of a set screams theatrical grandeur.
Adapted from the Academy Award nominated film by Baz Luhrmann, this new musical is decidedly connected to the 2001 film in spirit but has been significantly updated in its contemporary jukebox musical selections. No song list has been written into the program and that is a good thing. There are surprises in store and they are fun. The overall verdict for the show, however, is a mixed bag.
The core problem for me (and those I attended with) was that there was little chemistry between the two romantic leads played by Karen Olivo (Satine) and Aaron Tveit (Christian). Both sing beautifully but their voices do not match well in duets. The acting by Mr. Tveit (Next To Normal, Catch Me If You Can) is, frankly, bad. There are far too many moments where he stands with his hands down at his sides offering no energy as a leading man. The effect is boring male ingenue who only comes to life during his musical solos. Ms. Olivo (West Side Story) fares better (and seemingly works harder) but she has little energy from her costar to play off and her performance (and disappearing accent) suffers.
As a result of muted star power, the rest of the cast blooms brightly and makes this show entertaining to watch. Six time Tony nominee Danny Burstein is the nefarious owner of the Moulin Rouge and he will certainly be nominated for another Tony if this show transfers to New York. He nails a ruthless character yet manages to conjure believable, vulnerable emotion with his star Satine. In a romantic melodrama, that intensity needs to be with the central couple not only with the showgirl and her boss. Moulin Rouge! slows down for a minute in Act II and Mr. Burstein performs the Florence and the Machine song “Shake It Out” with some of the ladies. The moment is a high point.
As the villainous Duke of Monroth who desperately wants Satine as his mistress, Tam Mutu exudes power, malevolent motives and sex appeal. Sahr Ngaujah and Ricky Rojas are Christian’s newly found buddies in Paris and their acting, stage presence and characterizations are so strong that you don’t see Mr. Tveit’s Christian as the center of the show during their scenes together. Another huge plus is the sultry dancing of Robyn Hurder as one of the ladies of the cabaret.
The creative team has done outstanding work here as the sets (Derek McLane), the costumes (Catherine Zuber) and the lighting (Justin Townsend) were magnificently eye-filling. Alex Timbers (Peter and the Starcatcher, Bloody Bloody Andrew Jackson) is a director whose work I admire. In this endeavor, Act II is overlong and drags on, never more so than during the “Roxanne” number, a holdover from the film. In Moulin Rouge! The Musical, the elements needed for a crowd pleasing hit are in abundance. For this to be a top tier Broadway show, Mr. Timbers needs to focus his efforts on his proven talented leads and make us care about the romance at the heart of this spectacle. Maybe then the dull and emotionless ending would not just seem a placeholder prior to a sensational finale and curtain call.