Moulin Rouge Colonial Theatre Previews — Page 18

Jordan Catalano said: "re: the metal detectors, the line to go through them was lighting fast. They’re not nearly the intrusion they probably were for that first preview. "

Seconded. I even went out to send a text message since i didn’t have cell service inside, and was able to walk right back in.

The will call line looked quite long, however.

No problems with a small backpack, but they did enforce the no drinks policy.

I saw this this afternoon, in a last minute purchase. I managed to get 10th row center, which was an incredible seat for this particular production.

I am a fan of the movie, but do not recall every single moment the way some posters here do, so my enjoyment wasn't impacted by fonder memories of the movie.

It is probably not good that the first thing I am going to praise is the sets, costumes, and lighting. Visually, however, it is one of the most incredible shows the I have ever seen. The scenery is mind-bogglingly good...so good that you can't wait for the next scene. There is one throw-away scene where the Duke is trying to re-invent Satine. The backdrop is a huge picture frame with an impressionistic painting in it. Members of the cast populate the frame in incredibly gorgeous costumes, while Satine is in a costume which is supposed to fit in, but does not. Fairly throwaway scene, but visually stunning. Everything is a feast for the eyes.

The direction and choreography are also outstanding; and I for one thought the book was solid.

The cast was solid across the board. I enjoyed Aaron Tveit more than I have in prior shows; while I still don't think he has a lot of charisma, he is movie star handsome, acts the role well, and sings it extremely well; his haircut is as effective as many of the costumes. I thought that Karen Olivo was good, but there was just something missing to me. I think that the frailty Nicole Kidman brought to the role was more effective; Olivo was a little too robust to convey Satine's illness effectively. Danny Bursting was terrific, and I agree with everyone else who has posted that he needs his own number.

Criticisms: I was disappointed with the 'Diamonds' number; it just wasn't creative enough to make me forget the movie's version, which I can see for free. I was also happy that they did not try to replicate the Indian number in the show-within-the-show; however, i would have liked there to be more to the show-within-the-show than was on stage.

The audience loved the show, and was absolutely into the curtain call, which was a joyous number. I don't know if it will be a monster hit, but it will be a hit...It will need very impressive competition not to win Tony's for sets, costumes, lighting, choreography and direction.

TheActr97J said: "Can anyone report how the view is from the “limited side view” seats?"

I had one of these seats on Saturday. It was fine for the most part. I was limited on left side. I felt like I didn’t miss much except for one part at the end.

I was there tonight. I would agree with mostly what everyone else has said about the show. I will say that the only heart in the show at the moment is what you see when you first walk in the theater i.e., the set, there really is no emotion or barely any emotion within the show. The sets, costume and most of the lighting was great. I hope to write more tomorrow, but I can leave a few things tonight.

The first 20 minutes of the show is overload. You are exhausted by the last can-can. Satine doesn’t appear until 25 to 30 minutes into the show. After that first 20 minute opening (before Satine), the show almost grinds to a halt with Christian’s opening monologue/backstory. I think it would work better like the movie and have him talk a little bit at the beginning and then have the explosion that is the Moulin Rouge.

As a number of people have said, the songs weren’t changed enough from their originals. It almost makes you think of watching a musical review with karaoke except the music is wonderful and the singers professional. Bad Romance was the one exception, they seem to have changed it up enough so it works better within the context of the show. Also, I thought Roxanne should still be done as a duet, having just Aaron sing and whine about the stage distracts from the choreography.

There really is no chemistry between the two leads, I kept rooting for Duke, Tam is wonderful. All the leads are fabulous singers and can sing the hell out of the score however that doesn’t make it work. Karen Olivio, while a powerhouse, is not right for Satine. She’s much too strong/powerful and never shows any vulnerability as a courtesan. Yeah, she's been on the street but those thighs would crush you (for a good portion of the show she's barely dressed) I take that back, the only vulnerability she showed was during the number in the second act with the Duke, it was the only time I felt some actual emotion from her. (Although I still want to her to be with the Duke.)

Danny Bernstein, was amazing as usual and really should be given something better than "Shake him/it off"” His opening was reminiscent of the emcee in cabaret especially with his banter to the audience. You couldn’t take your eyes off of him when he was on stage.

More to come.

Updated On: 7/19/18 at 11:40 PM

BOM said: "I was there today as well and enjoyed the show for the most part. The leg room is atrocious though. I'm only 5'8 and my knees were pressing against the seats in front of me the entire show. Definitely got uncomfortable after awhile."

FWIW, for people who don't mind sitting in the back, Row W (the last row in the orchestra) has a bit of extra leg room and the seats are a touch wider as well. The sight lines were perfect too, although unless you have great vision, you sacrifice a bit of the facial expressions on the actors.

Updated On: 7/19/18 at 03:24 AM

I wouldnt, that way you judge it for what it is as opposed to a comparison.

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I think this show will be a problem for regular theatre goers. It's not made for the "theatre crowd". They play to the audience, and if last night was any indication, the producers want you "insta'ing" the sets and performers from the moment they let you into the theatre.

Boston is typically a pretty uptight place and the audience was hooting and hollering throughout the show, i felt like I was at a concert. The performers egg it on too in various ways.

Add into the fact that there were menus on the seats for drinks that would be brought to you now or at intermission, this show could get messy as an audience member. The are taking the bohemian anthem "Truth, Beauty, Freedom, Love" to new levels.

The stage door (unless I'm consfusing it with another theater) is in the back and accessible from an alley. (Upon coming out of the theater, you'd turn RIGHT and turn right again at the corner. Then, about 1/2 way down the block there is an alley way on your right.



People will dress here similarly to how they do in NY. Everything from casual to dressy.

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Went last night again and overall I think I enjoyed it even more! I loved being closer and getting to see everyone's facial expressions. Definitely agree about the lack of leg room - I'm 5'7 and my knees were pretty much lodged into the seat in front of me for the whole show. While it's not a small theater by any means, the orchestra still feels intimate. I saw Sonya Tayeh in the audience. I didn't get to talk to her, but I do think she should be very proud and probably(/hopefully) has a Tony coming her way for her incredible work here. I noticed some new action during the pre-show in the boxes, but maybe I just couldn't see them as well from last time.

I think Roxanne has been reworked so now instead of Christian starting with the verse from the original song ("His eyes upon your face," etc.) he starts singing straight into "Roxanne" immediately after Zidler's monologue finishes. I think I liked the dramatic thunderstorm beginning better last time and it seemed like the audience did too - this way doesn't give much room for applause. I was getting better at not comparing it to the movie this time around, but I still think they should apply a little more "if it ain't broke, don't fix it" all around, and this is especially true for this song. I also wish it would end on a big crescendo - the way it currently does is a tad anti-climactic. The choreography is fantastic though and Robyn Hurder does some of her best work here. That move in the beginning where the men are walking with the women gripping onto their legs (it can also be seen in the choreography rehearsal clip from a few weeks back) is so cool.

I agree with the poster who noted that most of the song arrangements are pretty unoriginal, making it sound like karaoke. I did think Only Girl in the World was one notable exception to this rule - the arrangement combined with the choreography and staging of that scene are delightfully creepy. The new arrangements were one of the most exciting parts of the movie, so hopefully they work on that before it's time to record it.

I do have to respectfully disagree with anyone who has said that Karen Olivo is wrong for the role. I think she breathes new life into the role and has completely made it her own - which is even more unbelievable considering she's only been performing it for about a week. I love that her Satine oozes with confidence and is the perfect balance of passionate and jaded. Aaron Tveit is great (though I tended to like him better in the silly parts, i.e. Elephant Love Medley), but I might prefer Ewan, meanwhile Karen makes me forget about Nicole Kidman altogether. I think it's also just much easier to believe that every man falls in love with her, and not just because of looks. Incidentally, this is all reminding me how criminal it is that Nicole Kidman received and Oscar nomination for MR but Ewan McGregor didn't.

For folks asking about limited view seating - I sat in one in the dress circle my first time before moving in closer and next to one in the orchestra this time and it seems totally fine. There's some dancing that happens on the far sides, but you'll be able to see the same thing happening on the other side. I think there was probably only one point towards the end where Aaron was singing on one side of the stage, the rest of the important action happens in the center and anyone should be able to see it.

I definitely draw the line at being rude or obnoxious, but I do enjoy the more enthusiastic crowds. Boston audiences tend to skew way older so it's definitely fun to be a part of all the energy once in a while.

bdboston said: "Thanks for your commentary, yellibean. I've been anxious to hear from folks who've seen the show more than once (I don't see it until next month). Did you feel, by comparing the two performances you saw, that they are actually using this preview/pre-B'way period to make significant changes or re-work some things (more than you mentioned)? Has the running timebeen trimmed at all? Looking forward to this!"

No, besides Roxanne I didn't notice any changes. The running time is still the same.

BuddyStarr said: "I think this show will be a problem for regular theatre goers. It's not made for the "theatre crowd". They play to the audience, and if last night was any indication, the producers want you "insta'ing" the sets and performers from the moment they let you into the theatre.

Boston is typically a pretty uptight place and the audience was hooting and hollering throughout the show, i felt like I was at a concert. The performers egg it on too in various ways.

Add into the fact that there were menus on the seats for drinks that would be brought to you now or at intermission, this show could get messy as an audience member. The are taking the bohemian anthem "Truth, Beauty, Freedom, Love" to new levels."

That sounds like Company XIV. They surely don't allow phone use during the performance... or do they?

I'm confused by what seem like conflicting reports of the Duke being awful and others saying he seems like a viable alternative to Christian.

Wow, a lot of us were there last night! First off the audience was such a mix of dressing styles, from older gents in shorts, t-shirts, and Tevas, to groups of young women dressed like a prom or a glamour show, to a bleach blond Erik Altemus in my row (behind Timbers) in a fully silver sequined jacket. So really, anything goes it seemed. (BuddyStarr, this is an ATG theatre, so if you've been to one in New York or London, you'll see "Ordertorium" and Ambassador Lounges at each one.)

As for the show itself, I mostly loved it. Act One especially was awesome. The endless opening sequence was such a rush, it totally gives you the feelings that the film's opening sequence did. Sets, choreography - and wow those costumes - all of it just delicious. Some beautiful theatrical moments. Act Two has several issues, a lot of it having to do with how the final play-within-a-play worked (in short, it was flat), and also, what happened to the count's arc? We just get a "tell and not show" brush off line, incredibly anti-climatic. But I have to say in terms of pace, you'd never realize that it ran 2:55 including the encores.

(I'd love another 5 minutes of encore with Max Clayton in his short-shorts, his thighs deserve a Featured Actor Tony, but I digress...)

All the songs that were replaced actually worked, which really worked me, so it was a surprise that I totally got into their (new groove). I was happy that a lot of the new songs were short bits here and there, so it was a lot of fun. The only new song I'd replace in Act 1 entirely is "We Are Young" which after the first verse and chorus, it feels like repetitive filler to change the set. [EDIT: It might have been "Shut Up and Dance With Me," whichever was used to cover the scene change to the elephant.] "Chandelier" I'm not completely sold on, to me it's such a tragic song, it just feels weird here, but it could be reworked a bit to make it work. (This song was a major example of how basically singing the original arrangement just didn't work.) I'd remove some of the dialogue around "Nature Boy" to have it sung straight through. The one that was a total fail was "Shake It Off." Not only did it feel like it went on forever, it was the most painfully shoehorned in, didn't deviate enough from the original arrangement, it basically just sat there, never ending. Shake that song off, please!

As for casting, all of it was spot on. The ensemble was killer the whole way through. They must have multiple versions of each costumes, the amount of dancing they do must soak them through. And then they have to sing on top of that? Insane. Already the hardest working ensemble on Broadway and they're not even here yet. Danny Burstein was stellar, so nice to see him in an original musical role. Aaron Tveit can deliver a song no doubt, and has the presence to stand up against Karen Olivo, and yet? I dunno, there's something about his performance that didn't quite deliver. Especially when he addresses the audience, it didn't feel sincere at all. But maybe it'll flesh itself out. Finally, Karen Olivo is just outstanding. I didn't think of Nicole Kidman once. As soon as she makes her entrance, Olivo's star power cannot be denied. Even with all the things moving around her, I couldn't take my eyes off her. And how she keeps it up with all the heavy lifting she does? It's miraculous.

So in all, it works. Audience was eating it up. So was I, for the most part.

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Updated On: 7/23/18 at 08:29 PM

When do the official reviews come out?