Mixed reviews in- is Moulin Rouge a Big Far Hit? — Page 2

dramamama611 said: "Pippin, are you referring to the poster above you? I think they mentioned Matlida to talk about the success of word of mouth, implying the reviews weren't great. (I don't remember if they were or not.)"

Matilda received near universal raves across the board from the critics. I don't think there was one publication of note that gave it even a mixed review, and certainly none that could be considered negative.

Pippin said: "Yes. I was referring to the person above me.

I think right now people are used to super long runs for super blockbuster shows (mormon, Aladdin, Beautiful), but long runs like that are recent phenomena.

"

Really depends on how you define recent. A Chorus Line, CATS, Les Mis, even Rent doesn’t seem like “recent phenomena” to me and feels like a trend that opened the door for some of the other long runs you cite. I do agree Much shorter runs were defined as hits a long time ago.

I also think a lot of people here (including me, frankly) have no idea of the inner economic workings of a show and how widely they can vary.

I did like the psychics and accountants remark. Maybe we could get a show about psychic accountants that runs for a long, long time.

Updated On: 7/27/19 at 03:17 PM

"I think they mentioned Matlida to talk about the success of word of mouth, implying the reviews weren't great. (I don't remember if they were or not.)"

Brantley loved "Matilda", was the most glowing review of a show I ever remember him writing.

There could be a number of reasons on why people might want to see it, despite mixed reviews ( how many read them?):

*Those who have seen the movie;

*Those who like to see live spectacle and would not be so fussy about the dramatic underpinnings;

*Those, like me, who love Paris. I have been there many times and have been to Montmartre/SacreCour/Artists Square twice. I passed by le Moulin Rouge ( Red Mill) but did not have a chance to see the cabaret. In the show, I thought the depiction of Montmartre of that time seemed a little bleak ( maybe to emphasize its difference from the more privileged segment of Parisian society then?).

*Those who have heard from other domestic/overseas tourists that it is the show to see on Broadway.

I saw it early in July when it was still on preview, in an excellent Row G seat, because I was curious about the show. I did notice that while we were all waiting to be let in the number of domestic and overseas tourists among the excited theatregoers - a lot of picture-taking of the marquee and the scenery/including the pre-show inside the theatre. Very strong and excited applause during the show.

Btw, I was seated a few seats away from Tommy Tune and he seemed to be appreciative of the show.

I guess the vibe now is more positive than negative. Will I recommend it to other overseas tourists. Of course

GavestonPS, you haven't met my youngest daughter. She's a bit embarrassed now at her insistence that we see Wicked on Broadway even though we'd seen it on tour. But she really wanted to see it, almost as much as the OBC of Hamilton. And I didn't really mind, even though we missed some other shows that were playing in the spring of 2016. Rachel Tucker was Elphaba, and she was really good.

I think Moulin Rouge! skeptics are overthinking this. The show is an event. The box office thus far confirms that. It's going to attracts fans of the movie, people who like spectacle, tourists from across the country and the world. A lot of fairly jaded people on this board have praised it. That's a lot of people. Some will be scared away by the cost; others will be disappointed by the show. But Hadestown has the same "problem."

The average person doesn't care about "mixed reviews," which haven't really been all that mixed. Sure, it's got some pans, and Sara Holdren at Vulture didn't like it. but regular humans don't make decisions based on dissenting views. The main takeaway I've heard is that the show is imperfect but wildly entertaining. That's a bad thing? It doesn't make me not want to see it.

While the show's running costs may be a problem going forward, it also is not a star-driven musical. People are going for the spectacle, not Aaron Tveit or Karen Olivo. I don't know how long it will be a $2 million-a-week once it has 8 performances a week, but I wouldn't be surprised if its staying power is longer than many expect.

My thirty-year-old daughter plays the Wicked OCR daily on her way to work. We've seen so many shows together, and clearly this was her favorite. My favorite? Not even CLOSE, but there ya go. It has ardent staying power with its fans.

She loved the Moulin Rouge movie, so we'll see how much this excites her when we go in August.

Updated On: 7/28/19 at 08:47 AM

For the record, ''Wicked' opened to mixed reviews. More than 15 years (and over 6,500 performances) later, it's still a top-selling hit.

Updated On: 7/28/19 at 07:36 PM

GavestonPS said: "ACL2006 said: "I'm not sure, but the word-of-mouth has not been kind. That's what kept Wicked going for as long as it has. I think the hype fades after a year. Tickets become discounted and the show runs for 3 years or so."

It's funny you mention WICKED because I've yet to meet anyone--including my then teenaged niece--who says s/he LOVED the show. Everyone I've known says, "It was fine. I was entertained." But nobody starts speaking in tongues over it. Maybe I just don't know enough pre-teens.
"

I know exactly one person who’s a fan of Wicked. However she’s so obsessed with it that she should count as ten fans. My first impression of her was when we both were at an audition, and I could overhear her belting (although it sounded much closer to screaming) Defying Gravity when she went in for her turn. She didn’t get a part. In my opinion, while there is some value and charm (I actually love the song Popular) in Wicked, it’s still a poorly written and somewhat dumb show. Spectacle is nice, but it can’t make up for writing that’s not anywhere near as smart as the show seems to think it is. I actually recall seeing an uncomfortable interview with Idina Menzel where she basically said that the show was written with an adult audience in mind, but instead caught on with kids. She was clearly trying to present this in a positive light, but her delivery showed a certain disappointment that show didn’t connect with the intended audience.