Moulin Rouge (professional) reviews — Page 9

Saw Moulin Rouge! tonight. Ashley Loren was in as Satine.

This time I was Row E Center Orchestra thanks to dynamic pricing and it being February. Last time I was left mezzanine. It was thrilling to see the show from so close but I think it’s best viewed on your first trip from the mezzanine as it offers a better view of the grandeur of the production. Still, from the preshow through Truth Beauty Freedom Love, I was in pure euphoria.

Regarding performances, I found Loren’s Satine too vanilla, especially during Act 1. She was more Grease’s Sandy when she needed a bit more Sally Bowles. She sings lovely, but I missed Karen Olivo’s powerhouse vocals as well as her ferocious fierceness. Not for one second, did I believe this Satine had been pimped out by her father at 13. Doing a small survey in the line to the men’s room and at stage door, it seemed others who’ve seen Olvo agreed.

From Row E, it is more apparent that Aaron’s performance isn’t over-the-top like everyone else’s (minus Loren’s). This muted his performance at first. However, his (and Loren’s) Your Song still elicited tears (some may recall my personal reaction to this song), but nowhere near the uncontrollable tears during my first viewing. I also loved their Elephant Love Medley more than the first time. I was in the minority in that I did feel Tveit/Olivo did have chemistry on my previous visit, but as Act 1 built, I did feel Tveit/Loren also had chemistry.

Before I move on to Act 2, a note about Danny Burstein. Just give the man his damn Tony now. He was over-the-top in full emcee mode when the show called for it, but also gave a smaller, more grounded, nuanced performance when called for. Given what we know he is dealing with in his marriage, I just couldn’t love him and his committed performance more.

Now Act 2: Wow. Just Wow. Backstage Romance is the most euphoric moment, especially from Row E, I’ve ever experienced in a theater. El Tango De Roxanne isn’t far behind. Also, Loren’s different take on Satine played better in Act 2. I started off with controlled sobbing then uncontrolled sobs (this is more than I recall last time) at Satine’s death/Your Song reprise/Come What May. Maybe Loren's less gritty perfect is the reason. I don’t know.

Obviously, we still have shows yet to open (I see Six next Friday), but I still think one shouldn’t rule out Moulin Rouge’s chances of winning more than technical awards at the Tony Awards in June.

Merchandise Booth: I bought the bracelet and for $5 more they threw in the L’Amour necklace.

Stage door: Robyn Hurder, Tam Mutu, Ashley Loren, and one member of the ensemble came out and signed.

Audience behavior: i think the show encourages laughter at recognition of known songs, so that doesn’t bother me so much. When things get more serious in Act 2, this stopped. However, the talking to their seat mates whenever these songs began did bother me a lot. Unfortunately, these people were invariably in the rows behind me and I can only hear them during the quiet moments so if I said anything there’s a chance the cast members would’ve also heard. Also the lady and her boyfriend who kept eating their red licorice during quiet moments in Act 1 out of a wrinkly package needed to stop. Being so close to the stage, it was tempting to mouth along to the lyrics early on in act one but I soon controlled myself. However when I talked to a couple and their daughter at stage door, they were sitting next to people who were singing fall out especially during Crazy Rolling.

Glad I saw it again tonight. Even missing Olivo’s grittier performance, I still had a great time.

I caught Moulin Rouge! for the third time a few weeks ago. The show has only gotten better and better with each time I have seen it. The first 2 times I saw it, I found Olivo to be serviceable as Satine, but she did not wow me. When I saw the show for the third time, she was firing on all cylinders. She was sexy, sultry, and just delectable. I'm not sure what changed, but it truly felt like an entirely different performance.

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I saw it on the first night of previews and disliked it quite a bit, just starting to get interested in giving it another shot in case of changes made during previews, when shutdown hit.

Way way wayyyyy to many songs. And corny. I don’t need to hear a big emotional climax break into Katy Perry’s Firework, and I never needed to hear Gnarls Barkley’s Crazy again. I loved the movie and thought all of Your Song, Elephant Medley, Roxanne, and Come What May fell flat and were without heart. They made the show so campy and stuffed woth so many “Now! That’s What I Call Music 1-73” greatest hits that i longgged for more story and dialogue.

Burnstein - Great
Olivo/Tveit - flat performances
Rest of principals were solid
Ensemble/Dancing and overall spectacle was the best part
Stage incredible

rkade21 said: "I saw it on the first night of previews and disliked it quite a bit, just starting to get interested in giving it another shot in case of changes made during previews, when shutdown hit.

Way way wayyyyy to many songs. And corny. I don’t need to hear a big emotional climax break into Katy Perry’s Firework, and I never needed to hear Gnarls Barkley’s Crazy again. I loved the movie and thought all of Your Song, Elephant Medley, Roxanne, and Come What May fell flat and were without heart. They made the show so campy and stuffed woth so many “Now! That’s What I Call Music 1-73” greatest hits that i longgged for more story and dialogue.

Burnstein - Great
Olivo/Tveit - flat performances
Rest of principals were solid
Ensemble/Dancing and overall spectacle was the best part
Stage incredible
"

see something new when BWAY reopens after Labor Day

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