Moulin Rouge Colonial Theatre Previews- Page 19

[jkstheatrescene]

Posted: 7/23/18 at 10:14am

I believe opening was rescheduled to July 29 to accommodate the later start of previews. 

[dramamama611]

Posted: 7/23/18 at 10:40am

Current run time, anyone?

[everythingtaboo]

Posted: 7/23/18 at 11:16am

Oops, sorry. I meant audience reviews. I thought we'd get a few more in over the weekend from people who've seen it. 

Dramamama, when I was there Wednesday night it ended at 10:55, I believe intermission was around 9:20?

[BroadwayConcierge]

Posted: 7/23/18 at 11:26am

I saw this last week and thought it was obscenely good. What's most incredible to me is that you simply can't complain about the production design. It is glorious and gritty; opulent and raw; theatrical and cinematic. For a movie whose legacy lies mainly in its pastiche aesthetic, I think this production deserves immense praise for really nailing the design. Literally everything visual (scenic, costume, lighting, choreography) is A+ level. Jaws kept dropping in the audience around me as the design continued to unfold throughout the show. Award-worthy.

The show itself right now is excellent, but needs some tweaking, mainly in Act II. I was mainly disappointed in the final scenes of the show, where Satine's death happens rather rapidly and with little to no emotional or dramatic tension. Part of why the movie was so powerful to me is that you were on a thrilling, lovely journey for most of it, but in its climax, the stakes are so high that Satine's death tears your heart to shreds. They don't come close to it in the musical right now. I also think it's a mistake not to end the show... 

 

Click Here To Toggle Spoiler Content

...on the gorgeous stage picture they create right now when the cast of the Moulin Rouge surrounds Christian holding Satine's lifeless body and looks up into the rafters. It would've been heart-shattering, and I thought it was criminal that another song followed afterwards.

As far as the performances, Tveit and Olivo are mostly great, but are in need of more raw chemistry. I thought their Satine and Christian were just really big fans of each other; not that they were in passionate, profound love. Fortunately, I think they'll be able to get there as the performances continue. I also think Tveit, who delivers a Tony-deserving performance during "Roxanne" and most of Act II, needs to fix some stuff in in Act I. He doesn't play Christian in the beginning as starry-eyed and lovestruck and blind to the world around him as I think Christian needs to be in order to make the character's descent into mania in Act II all the more convincing and real.

I'm optimistic that the show can make the changes necessary to make this a perfect production by the time it arrives on Broadway. The ensemble is on absolute fire, delivering production number after production number. I just hope the creative team isn't afraid to increase the tension/stakes/emotion, because that's mainly what the show is lacking in its current form. 

[Wick3]

Posted: 7/23/18 at 12:03pm

I saw the show this past Saturday evening and overall enjoyed it but I agree with others that the book needs changes.

Seating: I sat in dress circle and felt *barely* had any room for my knees! Note to self that if I ever go back to the Colonial Theater to get orchestra or aisle seats. I'm 5'9 so I'm not that tall but I'd say anyone who is over 6'0 would definitely be uncomfortable. I sat in side mezz row F and felt it was a great full-view. The balcony overhang didn't block anything. 
If I were to see the show again, I would probably get front row mezz or orchestra. I think sitting in front row orch is better than those special sparkling diamond seats as a lot of action does happen in that front section and I hate twisting.

Musical numbers: I haven't seen the movie in over 10 years but I do remember three songs: Elephant Love medley, Fly Away, and Come What May. Those are my favorite songs from the movie and that's probably why I was disappointed when Fly Away was not included and how Elephant Medley was changed.. Maybe I was just amazed with the scenic design and the dance numbers but overall I didn't get emotionally involved into the musical as I did when watching the movie.

Yes, I was certainly entertained with the dance songs and some of the modern songs added to the show. I did think the second act dragged a bit too long though. 

Casting: No complaints from me. Comparing the way Karen Olivo portrays Satine  with the way Nicole Kidman did in the movie, I can see how other people think Karen is not as delicate as Nicole. I'm not sure how to explain it but with Nicole, I can see how she can die of consumption. In the 2nd act of the show, I felt the whole TB cough just came out of nowhere (at least compared to the 1st act.) 

As for the Duke, I think he's too gorgeous to be the Duke. I mean, if I were Satine I might pick him over Christian when based on looks alone. lmao. 

Audience: There was at least one person behind me who was softly singing or humming through the songs that was annoying. The usher did make an announcement during intermission to be respectful of other people and not sing along, which everyone in my area appreciated!!!

Bottom Line: I think it can be a success when it comes to Broadway if they make changes in the book and hopefully get the rights to sing Fly Away. I do think movie fans will most likely be disappointed if the core songs from the movie are not there.

[CT2NYC]

Posted: 7/23/18 at 1:09pm

I saw the show last Wednesday, and, without getting into too much detail, there were things about it that I loved (the sets, costumes, choreography), things I liked (most of the new songs, The Duke, Toulouse), and things I hated (how "Come What May" was used, THE ENDING!) For me, the final scene at the performance of SPECTACULAR, SPECTACULAR, or, in this case, BOHEMIAN RHAPSODY, was extremely disappointing. In the film, the story barrels toward the performance at the Moulin Rouge, which creates an incredibly satifying and utterly thrilling climax, which then comes crashing down with Satine's death. In the show, this scene, is just...sad. No tension, no exhilaration, no romance, no music, no Duke watching the performance! Also, I understand the Satine sings "Your Song" because "Come What May" is used as the finale minutes later, but it just felt wrong. Other than the ending, though, and with some work on the book, I think the show has the potential to be great.

[dramamama611]

Posted: 7/23/18 at 1:12pm

Thanks, Taboo!   Tomorrow night!

[bwaylistener]

Posted: 7/23/18 at 1:56pm

I saw the Sunday 7/22 matinee. I hadn't read any of the reviews on this thread before going, but just finished catching up. I completely agree with most of what has been said. This is one of my favorite movies, so that certainly colors my review. The sets, choreography, costumes, and singing are phenomenal. The sets are absolutely stunning. But as others have said, the book needs some work. Christian lacks character development, namely the obvious infatuation with love that he has in the movie, and there is not enough setup between Christian and Satine to believe their love story. That background is critical for the emotional impact of the story. The end was anti-climactic. As someone else here said, I cry at everything and yet didn't cry when Satine died. The music was fun overall. I didn't love all the additions, but some worked. I was really disappointed they replaced I'll Fly Away with Firework, and that Come What May was not integrated as the secret song. They really need to cut back, as there are so many superfluous and almost gratuitous song inclusions, and the show was nearly 3 hours and dragged at points. I really hope they make some changes because I think this show has enormous potential, and was very impressed given that it has only been running for less than 2 weeks!

 

A word about seats: I sat in dress circle D1, on the aisle. My view was fantastic. I could take in the entirety of the enormous sets and big dance numbers, see Satine drop in, and still see facial expressions. In addition, the aisle seats are staggered so there that the seat in front of me wasn't directly in front of most of my seat, giving me extra leg room! I'm short and even I appreciated being able to stretch out, so I highly recommend these seats to anyone concerned about leg room!

 

 

Updated On: 7/23/18 at 01:56 PM

[thatspoetic]

Posted: 7/23/18 at 3:30pm

I saw it this past Sunday. Spoilers ahead. Overall, I found it entertaining although still in need of development in certain areas. I'm glad I saw it and hopeful they'll keep revising it to make it even stronger. I got a lotto loser ticket in dress circle Row L center. It was a good seat for the price. I missed a few brief parts on the catwalk, but nothing was cut off at the top of the set. I could even see faces decently well from the second to last row. 

The visual elements (set, lighting, costumes, choreography) are  brilliant and utterly delightful. They hit the movie vibe perfectly. There was plenty of dazzling, highly stylized spectacle, but the designers also know when to go drab or bare for emotional effect. They will be in awards contention for sure.

The new songs were hit or miss for me. I wanted them to cut a few songs, especially in the first act. I felt there were too many medleys or overlapping songs. I couldn't settle into anything, and the jumping around made character development hard. It was also distracting because the audience constantly reacted to recognizing the song entrances instead of what was happening in the story even if it wasn't appropriate to laugh or cheer at that moment. We are Young didn't work for me with Children of the Revolution. Olivo sang Firework amazingly, but I much prefer Fly Away. It bothered me that it starts off with a lyric about July 4th when Satine would never reference an American holiday. Shake it Off felt a little awkward. On the other hand, the unique interpretation of Bad Romance worked great. It fit into the world of the show. I also liked Chandelier (or whatever that song is called) as the absinthe sequence song, but I wasn't familiar with that song before. I really wanted Come What May featured more. 

The book had ups and downs. The new backstory about Satine and Zidler and the unrequited love between Lautrec and Satine developed those characters more and created some touching moments. It was a good choice to change the show within a show to something less offensive. I liked that Satine slept with the Duke from the start and did it to save her friends. It was logical, noble, and in character. I wanted a few more book-only scenes in act 1 to develop Christian's character and his relationship with Satine. Also, Satine went from one moment of illness in her first song to barely any reference to it until all of a sudden she's pretty much dead at the end. That felt abrupt. I agree with the previous commenter that the Duke felt too dropped at the end. Why wasn't he at the big opening of the performance he financed and had been watching all the rehearsals for? What logical reason did he have to give Zidler back the Moulin Rouge after Satine died as was dropped in a very quick last minute line of exposition in passing?

It didn't hit me emotionally as much as I wanted it to. I had a hard time feeling the love and chemistry between Satine and Christian. Olivo nailed the determination, sexiness, and strong aspects of Satine. I would have liked more glimpses of desperation and vulnerability sooner. All the supporting actors were wonderful, especially Danny Burstein, although I wished he had a bit more to sing in act 1. Tam Muto is sexy and sinister as the Duke. Sahr Ngaujah is soulful and entertaining as Lautrec.

Tviet sang wonderfully, but I had a hard time emotionally connecting with him aside from late in act 2. He did anguished better than lovestruck boy. Christian asks the audience to remember the first time you were in love when you view this story. I didn't feel that enough from him. I wanted more unrestrained boyish exuberance and the silliness of crazy dramatic first love. He felt emotionally guarded and a bit stilted, like he wasn't comfortable letting loose with the full joy of his love and his desperation to win Satine's heart. I wanted heart-rending, big, crumpling grief and not restrained quiet sobbing when she dies. It's very early in the run though, and I'm hoping he'll go in that direction more as he becomes more comfortable with the show. I don't want to sound too negative. His acting was fine, and his singing is awesome. Book changes would help with those issues too. I'm just routing for him to keep exploring some other takes.

Updated On: 7/23/18 at 03:30 PM

[Brave Sir Robin2]

Posted: 7/23/18 at 4:43pm

"They really need to cut back, as there are so many superfluous and almost gratuitous song inclusions, and the show was nearly 3 hours and dragged at points"

 

Agreed. That was my biggest issue with the new additions - too many of them!

[oncemorewithfeeling2]

Posted: 7/23/18 at 6:11pm

I saw the show last Wednesday, which seems to have been a hoppin’ day for BWWers at the Moulin Rouge. A lot of my feelings have already been addressed, so I’ll just add where I feel necessary.

I can’t not begin with the visuals because when you first walk into your seat, it’s so in your face. It can be a bit much if you’re not expecting it and I did hear a few people comment that the lights were too bright or that it felt like too much, but I personally think I’d feel disappointed if it was anything less. It’s intense and beautiful.  Whenever the show does open on Broadway, they have nominations for scenic design, lighting, and costumes in the bag. The design they’re using with the show is so strong throughout and it doesn’t let anyone down.

Speaking of moving to Broadway, on Reed Luplua’s instagram takeover of the official Moulin Rouge account, he and a Ricky Rojas seemed to confirm the show is moving to Broadway next year. I believe their exact words were, “The plan is to move to Broadway next summer.”

I enjoy the movie, but I have no significant connection to it or the songs used, so the songs changes didn’t really upset me. They changed songs to make it more relevant to the audience experiencing the show for the first time.  It’s been 17 years since the movie came out. The songs that made up the original Show are foreign to some of the audience. Sia, Lady Gaga, Rihanna are recognized. A girl about 15 or so was next to me and had to ask about to songs in the second act opener (Sweet Dreams are Made of This and Seven Nation Army). I found some songs changes peculiar because they didn’t flow in the medley they were in or where they were used. The biggest complaint I have is that right now, I don’t feel major chemistry between Satine and Christian or any major rivalry between the Duke and Christian. The Duke isn’t menacing or scary and I don’t think that’s the fault of Tam Mutu. I think it’s just how it’s written. But there just seems to be no passion there...to win and succeed or for love.

I have to point out Sahr Ngaujah as Toulouse Latrec. Holy. SH*T. Until I saw the show, I had no idea I needed to hear him leading a group of men singing Sia’s “Chandelier.” But I do. I need that in my life. I thought he was absolutely fabulous in what could easily become an overlooked role.

Right now, the show is still pushing 3 hours and it needs to lose, in my eyes, about 30-40 to minutes. There’s so many songs that they’re losing time to the audience cheering and clapping because hey, they know song! There’s also times where the inclusion of a song line or phrase just aren’t necessary. Yes, getting Rick rolled is funny, but it’s really not needed. They can do better.  Cut out the little bits to keep the longer spans that work. Danny Burstein is one of musical theater national treasures. Please give him more material. I love Florence Welch, but Danny needs more.

The ensemble is killing it. They’re selling every second and they’re GOOD. Sonya Tayeh has put some outstanding dancing out there and it’s just going to get better.  

I saw a few members of the creative team taking notes throughout the show, so at least through last week, they were still in Boston working on things. The weak link here is the book. I don’t think the book is unfixable, but it needs some help. It’s not keeping things moving the way it should or helping to fully develop our characters. I’m not sure how critics will take it. The bad points aren’t horrible, but the good points are GREAT. In New York, I think this could be one of the few, mighty critic proof shows. 

It’s a very, very enjoyable show right now and it has the ability only to improve. If you go in expecting the movie on stage, you’ll be highly disappointed. It’s more then an “inspired by” story, but they’re telling us a different story about Satine and Christian this time. It’s not a bad story, but it’s not one many expected. If they used time wisely and were open to making cuts and changes, the show will do very, very, very well.

Updated On: 7/23/18 at 06:11 PM

[mufish]

Posted: 7/23/18 at 8:17pm

thatspoetic, we may have been neighbors, if you were at the matinee!  I was finally quick/lucky enough to snag a lotto loser ticket.  I echo everything said about the lack of leg room; I'm around 6' and the struggle to fit my legs was real.  As far as run time, I was at the Starbucks across the street by ten to four so I'd put it right around 2:40 with the intermission.

I don't have much to add that hasn't already been said.  All in all I enjoyed it and will continue playing the lottery to try and see it once more (I'll be staying away from the lotto loser tickets though!) as there's so much to take in.  I never saw the movie so I didn't have to deal with thinking about how the show compared to it.

The book is serviceable but as noted there are some shortcomings, notably the ending.  I actually thought that Act I started to drag a bit, with so many medleys/mashups and single lines of songs, which really doesn't help the issue of people giggling upon recognition of the song.  On the other hand, the sets are wonderful, costumes fantastic, and many of the cast are giving excellent performances.

Earlier in the thread it was discussed that Zidler's boys are Pierre and Anatole.  To add a layer to that, Pierre is played by Reed Luplau who was in the ensemble of Great Comet.

It's wonderful to see the Colonial restored, and I look forward to many future visits!  There's something very neat about getting to see a pre-Broadway engagement, and I think MR will eventually have a solid run on Broadway.

[millie12]

Posted: 7/24/18 at 11:55am

Let me begin by saying this: Moulin Rouge is one of my favorite films. I am aware of its' divisiveness and the fact that it isn't for everyone. But I think its an absolute masterpiece. I am was incredibly excited to see this show. Unfortunately, I thought it was one of the most disappointing nights in the theatre I have ever had. I was aware of some of the changes prior to going in, but I wasn't prepared to be so let down by them. What was once a gorgeous, elegant, emotional, dynamic, and moving story has been reduced to a gaudy, campy affair completely missing any pathos, heart or soul. The story we all know and love is not on the stage of the Colonial. The only positive I can muster is that the cast is working their TAILS off to make this all work. There is significant talent on that stage.

John Logan's book is dreadful. Much of it is serviceable at best. No nuance or a firm grasp of what story they are trying to tell. There were many moments throughout in which myself and other members of the audience looked at each other in disbelief. There really isn't much of a structure to this story. The overall plot is the same, but that's basically where it ends. Every moment you thought would work beautifully on stage doesn't happen or is cut altogether. 

The music arrangements are.....baffling. I'm not sure if there were rights issues, but the changes do nothing to service the storytelling. What made the usage of songs in the film so brilliant was that it felt like they were written FOR the film. There was a cohesiveness to it that made it feel organic. Not so in the musical. Satine's One Day I'll Fly Away (a great choice of song to develop a character) is now reduced to her wondering why she feels like a plastic bag. Literally. The inclusion of songs JUST for comedy or to be witty is unbelievably irresponsible. It has become Rock of Ages in the sense that everyone starts to laugh when they hear a new song added that vaguely fits the situation they're in. Dramatic moments were played for comedy. (Also even in 2001, the majority of those popular songs were not "modern". Bowie, early Elton John, and Gentleman Prefer Blondes were just great dramatic choices, they weren't flavor of the decade songs like the ones they are adding in).

Karen Olivo is talented as hell but miscast, unfortunately. She's working so hard but it just doesn't vibe. Aaron Tveit, also miscast imho, is giving a truly uninspired performance. And Danny Burstein, Tam Mutu, and Sahr Ngaujah are the best people on the stage. Trying their absolute hardest to make it work. They are doing wonderful things.

My advice to the creatives is this: go back to the film, figure out why it is so iconic and so loved and bring that to life onstage. The movie has reached cult status and they went too far to make it their own. I admire the effort, but it NEEDS to be truly adapted from the film. This is a loose adaptation, at best. Do not add songs to be relevant. Have it serve the STORY. And if you are going to replace a song that existed in the film, have it be BETTER. Firework, Bad Romance, Shake it Off, Rolling in the Deep are not acceptable. Let the story speak for itself, let it breathe, have some true moments of quiet (Come What May & Nature Boy in the film). If it ain't broke, don't fix it. 

I realize that they couldn't just plop the film onstage. That is impossible. But the story and material contained in the film WORKS. It is dynamite source material. It is high drama and romance. Not anymore. It is completely disregarded. If you are looking for a pop concert, with loud singing and great dancing....this is your show. If you want a romance with great, dynamic characters and something that may move you to tears? Watch Baz Luhrmann's brilliant film instead. Give the fans and the piece the treatment it deserves. It breaks my heart to say this, but it is a total misfire.

 

 

Updated On: 7/24/18 at 11:55 AM

[barcelona20]

Posted: 7/24/18 at 12:14pm

I think it's apparent that this will be a box office hit, but not a critics hit. Tonys for set design and costumes, but no chance at best musical.

[dramamama611]

Posted: 7/24/18 at 12:43pm

WHY does everyone assume the only goal that matters is Tony Awards?  Or, at least, wait until it appears on bway before determining its fate.  They certainly MIGHT make the changes necessary (if they deem that necessary.)   Or maybe even see what the critics say about this version.   

 

Also: it seems like the more you love the film, the less you like this. 

[millie12]

Posted: 7/24/18 at 2:05pm

^^^^^ Which I think is inherently the problem. Why produce this musical adaptation of a film that has an enormous fan base at all if they're going to make it entirely different? 

 

[Solipsist234]

Posted: 7/24/18 at 2:20pm

millie12 said: "^^^^^ Which I think is inherently the problem. Why produce this musical adaptation of a film that has an enormous fan base at allif they're going to make it entirely different?

"

???

Because that's the point of musical theater? Putting something different out into the world for people to enjoy! If we just copied the film in question, we would have a Pretty Woman situation where the book is the movie's script word for word and most of the songs fall back into the realm of the film's plot.

To be completely honest, I am intrigued by how Firework is used in place of One Day I'll Fly Away. Same with Your Song, which has been the biggest criticism in terms of how it's been used in place of Come What May as Christian and Satine's love theme!

Updated On: 7/24/18 at 02:20 PM

[kdogg36]

Posted: 7/24/18 at 2:25pm

dramamama611 said: Also: it seems like the more you love the film, the less you like this."

I'd say the more you take the film seriously as drama, the less you like this. I consider myself a big fan of the movie, but to use millie's language, I love it because I think it is gaudy and campy, not because I'm deeply moved by it. I'm not arguing with millie's reaction; rather, I'm just saying that we appreciate the movie in very different ways, and that leads us to react differently to the stage show, because the changes they have made are in line with my take on it, but directly inimical to millie's.

[barcelona20]

Posted: 7/24/18 at 2:35pm

Movie aside, this show has glitz and glamour but no heart.  At least when it comes to the leads.  It's that simple.

[BuddyStarr]

Posted: 7/24/18 at 2:38pm

dramamama611 said: ...Also: it seems like the more you love the film, the less you like this."

I loved the film BUT I can appreciate something that is based on the source material.  I found this production enjoyable but still think that they can make it better.  I didn't compare it the film while watching it, however, the show brought me back to the film in various scenes that I had forgotten (like the green fairy section).  I didn't particularly feel that the film was all that deep but it was fantastic in how weaved modern songs to the context of the film.  This show doesn't do that well.  Like I posted earlier, it's more like karaoke.  Don't just place the songs in the show, work them into the show.

Visually the stage show meets and maybe even surpasses the film but unfortunately, book/acting/music is lacking.

[Wick3]

Posted: 7/24/18 at 2:46pm

If the 2001 Moulin Rouge movie didn't have any songs then I think this stage adaptation would have been pretty good. However, the movie did have songs and now that it's going on stage, I think the majority of movie fans expect to hear those songs (or at least the main iconic ones). 

The main reason I was disappointed they cut out "One Day I'll Fly Away" is because I felt it was Satine's song where she sings of hope. It's similar to Ariel's song "Part of Your World" in The Little Mermaid or Eliza's "Wouldn't it be Loverly" in My Fair Lady. Sure, it would be good to hear Satine sing "Firework" but I woudn't pay Broadway prices to do so. Off-bway prices, sure! 

It's interesting but I just realized Amelie was also a 2001 hit film that recently went on Bway. From what I recall, the main reason why it didn't succeed is because fans of the movie just didn't feel the same magic and charm as they did when watching the film. As for the preview I saw last weekend, I didn't feel the same emotions I did when watching the film either; but these actors definitely have talent. I think the main issue is with the book and if they can bring the iconic songs back, I think it would be great. 

[bdboston]

Posted: 7/24/18 at 2:48pm

All these posts are making me wonder if the creative team is actually intending to make any significant changes during this World Premier. Or, is it more likely that they will leave the show as-is, and tinker between the end of the Boston run and first previews on B'way. The running-time seems to still be clocking in at just under three hours; you'd think the length would be the first thing they your try to fix/reign in.

[CT2NYC]

Posted: 7/24/18 at 3:03pm

millie12 said: "Let me begin by saying this: Moulin Rouge is one of my favorite films. I am aware of its' divisiveness and the fact that it isn't for everyone. But I think its an absolute masterpiece. I am was incredibly excited to see this show. Unfortunately, I thought it was one of the most disappointing nights in the theatre I have ever had. I was aware of some of the changes prior to going in, but I wasn't prepared to be so let down by them. What was once a gorgeous, elegant, emotional, dynamic, and moving story has been reduced to a gaudy, campy affair completely missing any pathos, heart or soul. The story we all know and love is not on the stage of the Colonial. The only positive I can muster is that the cast is working their TAILS off to make this all work. There is significant talent on that stage.

John Logan's book is dreadful. Much of it is serviceable at best. No nuance or a firm grasp of what story they are trying to tell. There were many moments throughout in which myself and other members of the audience looked at each other in disbelief. There really isn't much of a structure to this story. The overall plot is the same, but that's basically where it ends. Every moment you thought would work beautifully on stage doesn't happen or is cut altogether.

The music arrangements are.....baffling. I'm not sure if there were rights issues, but the changes do nothing to service the storytelling. What made the usage of songs in the film so brilliant was that it felt like they were written FOR the film. There was a cohesiveness to it that made it feel organic. Not so in the musical.Satine's One Day I'll Fly Away (a great choice of song to develop a character) is now reduced to her wondering why she feels like a plastic bag. Literally. The inclusion of songs JUST for comedy or to be witty is unbelievably irresponsible. It has become Rock of Ages in the sense that everyone starts to laugh when they hear a new song added that vaguely fits the situation they're in. Dramatic moments wereplayed for comedy. (Also even in 2001, the majority of those popular songs were not "modern". Bowie, early Elton John, and Gentleman Prefer Blondes were just great dramatic choices, they weren't flavor of the decade songs like the ones they are adding in).

Karen Olivo is talented as hell but miscast, unfortunately. She's working so hard but it just doesn't vibe. Aaron Tveit, also miscast imho,is giving a truly uninspired performance. And Danny Burstein, Tam Mutu, and Sahr Ngaujah are the best people on the stage. Trying their absolute hardest to make it work. They are doing wonderful things.

My advice to the creatives is this: go back to the film, figure out why it is so iconic and so loved and bring that to life onstage. The movie has reached cult status and they went too far to make it their own. I admire the effort, but it NEEDS to be truly adapted from the film. This is a loose adaptation, at best. Do not add songs to be relevant. Have it serve the STORY. And if you are going to replace a song that existed in the film, have it be BETTER. Firework, Bad Romance, Shake it Off, Rolling in the Deep are not acceptable. Let the story speak for itself, let it breathe, have some true moments of quiet (Come What May & Nature Boy in the film).If it ain't broke, don't fix it.

I realize that they couldn't just plop the film onstage. That is impossible. But the story and material contained in the film WORKS. It is dynamite source material. It is high drama and romance. Not anymore. It is completely disregarded. If you are looking for a pop concert, with loud singing and great dancing....this is your show. If you want a romance with great, dynamic characters and something that may move you to tears? Watch Baz Luhrmann's brilliant film instead. Give the fans and the piece the treatment it deserves. It breaks my heart to say this, but it is a total misfire."

Very insightful review. Since there are things about the show that worked for me, I can't call it a total misfire. However, on one level or another, I agree with just about everything you've written here.

[Miles2Go2]

Posted: 7/24/18 at 3:04pm

First, let me say I have not seen the stage production, but my interpretation of “One Day I’ll Fly Away” in the movie is different than Wick3’s. I see it as a song that foreshadows Satine’s death. I’m not sure that occurred to me until I rewatched it recently. Unless they’ve reworked the arrangement of Firework, I dont’t see it working the same way. It’s an over-the-top celebratory song. There’s a reason it has been embraced by gay pride festivities. It’s proclaiming self-pride in a society that wants to put you down. Not saying there’s not a place for it in the stage production, but it wouldn’t seem to be a suitable replacement for the more nuanced, subtle song it replaces. And I agree with someone else who said that a reference to the Fourth of July would seem jarring in this show. Is it? Just the thoughts of someone who is intrigued by this show, but hasn’t seen it.

Updated On: 7/24/18 at 03:04 PM

[BuddyStarr]

Posted: 7/24/18 at 3:23pm

Miles2Go2 said: "First, let me say I have not seen the stage production, but my interpretation of “One Day I’ll Fly Away” in the movie is different than Wick3’s. I see it as a song that foreshadowsSatine’s death. I’m not sure that occurred to me until I rewatched it recently. Unless they’ve reworked the arrangement of Firework, I dont’t see it working the same way. It’s an over-the-top celebratory song. There’s a reason it has been embraced by gay pride festivities. It’s proclaiming self-pride in a society that wants to put you down. Not saying there’s not a place for it in the stage production, but it wouldn’t seem to be a suitable replacement for the more nuanced, subtle song it replaces. And I agree with someone else who said that a reference to the Fourth of July would seem jarring in this show. Is it? Just the thoughts of someone who is intrigued by this show, but hasn’t seen it."

It comes after a labored scene with one of the dancers/singers who doesn't want the Moulin Rouge to close and end up back on the streets.  I didn't think the song was really reworked.  It might be a bit slower but still very defiant.