Moulin Rouge Colonial Theatre Previews — Page 21

MadAboutTheBoy said: "Since they've dropped "Hindi Sad Diamonds" as the show-within-a-show, how does the replacement number compare? That sequence was so awesome in the film."



I just saw it last night. To answer your question they don’t really show a number from the show within the show. I suppose bad romance could have been in the show in the show but it seemed more about the other romance.



I personally loved it. I am also a huge fan of the movie. But I can’t wait to see this again.

SO I saw the show yesterday, and I have a ton of thoughts. Here... We... Go! (also, happy first post to me!)

Overall the show, though still with it's issues, was *brilliant*. The direction and choreography were just spectacular, and the design was OUT OF THIS WORLD (and they continue to surprise you along the way with how they can top themselves). The show was a bit long (with the show starting around 8 and ending almost at 11), but honestly that just speaks to how they could trim the fat to make it even better than it currently is. Now I won't spoil certain moments, because I truly think that this feast for the senses should be enjoyed as blindly as possible, but I wanted to to talk about what they did with the show.

If you're looking for an exact one-to-one adaption of the movie, you will be disappointed. With a slightly tweaked story line and updated songs, the creative team (along with the wonderful amazing cast) really did do a damn good job with embodying what's so special about the movie... But there are moments from the movie that you'll miss seeing. However, even with that you get over stuff like that. The brilliance of the show however is not without pitfalls; in places where the songs (originally in the movie or not) really work it creates something truly magical... But there are some moments (usually serious) where a song is sung that have the audience laughing because of the song choice. With the updated score, the audience is very familiar with the score yet a lot of the additions wouldn't count as a "classic" (if you'd like to know more tea on this, just message me), which at times works against the forward motion of the narrative. To expand on that just a tad, there were also sequences that lasted a bit too long, soaking into the almost "meme" nature of the musical/movie a bit too much. It's something to be expected, but I think this ends up being one of the places where they need some revision (unless of course, this is what they were going for). I left the theatre asking myself if they were hoping for the audience to laugh at the song choices mad or if they were hoping for a seamless transition from pop culture to the stage.

The ensemble work was BEYOND amazing, each of them could just sing and dance for DAYS (and were gorgeous, but that's here nor there). Aaron Tveit (Christian) gave a vocal performance of a lifetime, and while Karen Olivo (Satine) was great (I mean, when is she not?) she was the only one of the leads that felt replaceable. Danny Burstein (Zidler) did an IMPECCABLE job, along with two incredible standouts (and potential tony nominee recipients) Sahr Ngaujah (Toulouse) and Ricky Rojas (Santiago). The other performers were also amazing, and really brought life to this show that I had come in having tempered expectations for.

When it goes to Broadway I firmly believe (though obviously I have not seen the other potential shows that would be eligible) that the design elements are going to fare well with the Tony voters, and that Aaron Tveit and Sahr Ngaujah will ABSOLUTELY be nominated for Tony Awards... With my hopes being that Sahr wins for his heartbreaking performance. I also would not be surprised if Alex Timbers (who is also directing the Beetlejuice tryout at the National Theatre that I will also be seeing!) and Sonya Tayeh (choreography) were nominated and won.

RUN TO SEE THIS WHEN IT TRANSFERS BEFORE THE TICKETS GET CRAY Y'ALL. Honestly, where it's at currently is good enough for me to get tickets when it transfers to Broadway and it only has room to grow.

Could the fact that Matthew Morrison was in the audience the other night be considered a red flag for Aaron? I hope not, because Aaron is superb as Christian. If one of the two leads is replaced prior to Broadway, my choice would be top billed Karen. Though she's very good in the show, I see the lack of chemistry between Aaron and Karen an issue. Their seven year age difference was very apparent from my second row Orchestra seat, especially with Aaron playing Christian so boyish in the earlier scenes. Their first passionate kiss was awkward to the point of embarrassing, not even a spark of emotion. Who could replace her? Laura Benanti?

Talking about theatre for it to go into in NY..what about the Belasco? The beautifully redone Colonial reminds me of that theatre (cause I just miserably sat through Gettin' The Band Back Together, and was counting the tiles in the ceiling I was so bored). They seem to have the same amount of seating and beauty. Just a suggestion. Also was thinking the Imperial, since Carousel may be leaving soon. The imperial backstage needs a total renovation. I was used to work back there and it was basically "condemned!" So many issues our casts had.

The Belasco is too small. This show is going to need a big theatre and -- I am guessing here -- a lot of tickets sold at premium prices if it is going to return its investment in any reasonable time. I can't help thinking that the Winter Gargen or -- I can dream -- the Mark Hellinger would be prefect venues. Decent size, very ornate around the stage...and the Winter Garden marquee, as previously mentioned, would be a great spot to advertise the show.

Updated On: 7/28/18 at 11:09 PM

suicidalmickeymouse said: "I’m sorry, I truly do not mean any disrespect, but is this post satire? Matthew Morrison was in all likelihood just enjoying the show. He would never replace Aaron, he’s far too old. And then Laura Benanti as Satine? Really? I consider her entirely the wrong fit vocally."

I highly doubt they'd replace one of the leads in the transfer unless their notices were atrocious. Matthew Morrison probably just wanted to see the show--after all the mashups on Glee, I imagine the style appealed to him too. :P

I can understand nsguy45's concern about Matthew Morrison being at ML. Oh, I agree he's too old to play Christian but no one mentioned the Neverland casting debacle where Jeremy Jordan was successfully playing Barrie in previews at Boston's ART and MM took the role to Broadway (he had workshopped the role though). I am one who felt it was a fan base decision -- Morrison had 5 years of Glee and this is Jordan pre-Supergirl. It's practically a Pavlovian response to wonder now especially since people have compared Tveit to looking like Morrison's brother (I think AT's better looking but I'm his fan so...). Informed people mentioned MM's TV reason for being there so everything explained. And I should mention that MM mentioned on Danny Burstein's instagram that he would be by to catch the show. They were in South Pacific together, I believe.

But I would like to throw out two other celebrity sightings pre MM to create some mystery and tension . Jonathan Groff and Renee Elise Goldsbery. With the appearance of those two we can eliminate both leads with their minor chemistry but major vocals and Timbers could still get a woman of color as he wanted. Oh, I know that Groff has a TV series-- but how long do those sometimes last -- Tveit had one for 3 seasons and another for one. I also know that Alex Timbers directed Groff in the Bobby Darin show while John Logan is the book writer for ML as well as Red in which Groff appeared with Alfred Molina. That Red role must have been meaty since AT's Les Mis co-star Eddie Redmanye got a Tony and an Olivier for it. And its not a musical.

I think the two stars were there for seeing people they've worked with or knew -- Aaron's only connection with either I think is announcing Renee's Hamilton 2016 Tony for playing Angelica (like Karen Olivo in Chicago). But Groff has been mentioned in ML threads as a possible Christian (and 1 1/2 yrs younger than Tveit) and Goldsberry would make an even older Satine so I thought I would throw this sticky wicket in for fun. But remember I'm hardcore Aaron Tveit fan and I think he is better song interpreter than Groff. I heard both sing two of the same songs on YT and for me there was no contest. But Groff had a bit of recurring Glee role -- oh, my.

Actually, I did this post as a fun exercise -- nothing more.

But in any case I am keeping my fingers very crossed for a sea change in the AT/KO chemistry issue. I haven't seen the show but it has been mentioned a lot and I even posted previously AT's terrific chemistry according to critics with Mary Elizabeth Winstead (and now Ewan McGregor's main squeeze in reality) in his TV series Braindead, oh, and there's Blake Lively in Gossip Girl (10 episodes), and even Ugly Betty -- was there ever better chemistry? It was good even though only once. And this is not a slam at Karen Olivo but I don't know all her work. Anita in WSS is a very strong character and little interaction with Bernardo unlike the movie (America song) where both Moreno and Chakiris got Oscars. Wasn't Vanessa a tough cookie in the Heights -- didn't see, so I'm probably wrong. She played Mimi and Maureen in Rent. Not delicate attitudes. And other things I don't know. So whatever.

Updated On: 7/29/18 at 08:46 AM

If trpguyy is referring to my post, he did not get me at all. I was not discussing an kind of conspiracy -- I posted in fun which I hoped was clear since I said that. And was continuing the discussion started by nsguy45 about visiting celebs. That was all. Obviously it was not clear for trpguyy or anyone else who misinterpreted. SORRY.

The serious part of my post was my concern about the chemistry of the two leads and was hoping it would improve. PERIOD!!!!!!

So I saw the show last week and it's one of the best I've ever seen. I'm glad I got to see it in Boston because this is likely going to be one of the most in demand/expensive tickets on Broadway. (Not that I'm not going to see it again once it transfers). I'm probably in the minority here but I liked the stage show better than the movie. Not to say that the stage production didn't have faults but imo there were less than the film has.
Starting off, I did see pictures of the set before I went to the Emerson Colonial but I thought that there had to be some kind of filter. Nope! It really was that stunning. This show is the epitome of set porn. I can't imagine what it's going to look like on Broadway since out-of-town previews are supposed to be the "toned down" version of what it will look like in NYC. I've read the reports on here about terrible leg room and got worried but I didn't think it was any worse than it is in most of the theatres I've been to in NYC. (For the record I thought the Neil Simon had the worst leg room but that might be because I was there for 8 hours on a marathon day of Angels in America).


Anyway, as much as I enjoyed the show I'm gonna start on a negative. I didn't really like the pre-show. I think that's something that can be cut from the Broadway transfer. The scenic design sets all the tone needed for the show without the ensemble members awkwardly moving about the stage and then the sword swallowers (that I couldn't even really see that well against the backdrop). Then a shocking moment came when Aaron Tveit just strolled on stage and only a few people cheered. Boston audiences must be really chill because the roof probably would have came down on Broadway. (I'm not saying it's a bad thing that nobody lost thier minds at the first sight of Aaron, just something I was surprised by. The woman I was sat next to wondered out loud if the audience even recognized him.)


So I had the biggest smile on my face as soon as Lady Marmalade began and it didn't fade for most of the show. All in all, everyone involved killed it and everything was so tight that I forgot that I wasn't on Broadway. The ensemble and the choreagraphy really were what made this show stand out. I've been a fan of Sonya Tayeh since SYTYCD and she definitely deserves a Tony for her work in this.
I know there are people on here that think Aaron Tveit is a bland performer but tbh Christian is a pretty bland character and I think Aaron did a better job at giving him depth than Ewan McGregor (and I say this as a fan of both actors). This especially stands out in Roxanne where Aaron showed way more emotion in that performance than Ewan did (he's also a much better singer). I also thought that Karen Olivo was a fantastic Satine who had a lot more character and motivation than her movie counterpart. Plus I thought she was a lot less annoying in her portrayal, Nicole Kidman's high-pitched noises for "comedy" really irritated me.


As I mentioned at the start, this show wasn't without some problems. This first one is more personal because I hate the song Firework but I want that song replaced. The lyrics are just so hokey that no amount of good acting or singing from Karen Olivo could make me take the song seriously. It just doesn't lend itself for a dramatic moment. Second is that I didn't like all the extra songs crammed into Elephant Love Medley. The original version is perfect as is and it doesn't need to become what sounded like a Greatest Hits of the 90s compilation. I would also do away with Christian's narration except for his bit at the end. It just stops the show (and not in a good way) when Aaron has to talk to the audience with clunky dialogue. There was one read from him in particular that got an unintentional laugh out of me because it was said so carelessly. It was towards the beginning of the show when he said something like "I found the love of my life at the Moulin Rouge. She's dead now." It was the careless way he said "She's dead now" that made me laugh because he might as well have shrugged when he said it. The Rolling Stones mash-up from the Duke can be cut and so can Shake it Out sung by Zidler. They should add the Duke back into the ending somehow because he just disappears and it just feels anti-climactic just to have him go away.


My favorite parts were the Bad Romance/Toxic/Sweet Dreams mashup. The audience seemed to share my love of this number because they cheered for a good 2 mins afterwards. I also loved Chandelier, Roxanne, and Come What May. I've also got to say that once Moulin Rouge moves to Broadway it's going to top that "Best Curtain Calls" thread that's on here because while mine used to be SpongeBob it was easily beat by the amount of spectacle and fun that this curtain call brings.

Updated On: 7/29/18 at 05:58 PM

I cannot believe the response this show is getting. An enormously divisive show. One of the most in recent memory. Most people I have come across have hated it and then there are others who are lauding it with such praise. I'm sorry, I thought it was dreadful.

Spectacular. I LOVED this show.

NewZealander said: "When does it 'Open' ?"

I believe Opening Night is currently in progress.

ACL2006 said: "If the reports are true that this takes the Hirschfeld, anyone else thinks it's not the right theater for this show?

And considering the mixed reviews Olivo is getting, maybe she gets replaced?"

As someone who hasn’t seen the show but has read every post on this thread, I’d say the reception to Tveit’s performance has been much more tepid than the reaction to Olivio’s.