Posted: 7/11/18 at 10:03am
Posted: 7/11/18 at 10:09am
I have discussed the change in the Duke's persona in an earlier post but to respond to the poster who wonders why Satine doesn't pick him -- per my reading of Alex Timber's and others rationale -- Satine finds the Duke's financial security, etc. very attractive but she deeply loves Christian and his innocence. This may be too ambiguous to maybe get. Oh and it's Tveit, not Tviet.
Posted: 7/11/18 at 10:18am
bandit964 said: "Are the orchestrations still lush and gorgeous like they were in the film/film soundtrack?
"
I preferred the orchestrations in the film soundtrack tbh. And I think they could cut a few of the new songs since they only sing a verse or two on some of them as mash-ups. I'd rather the characters get a chance to sing out the new songs as a whole without some of the arrangements.
Posted: 7/11/18 at 10:20am
Jordan Catalano is worried about his backpack and I'm sure others are:
Per the poster with backpack problem: I finally just took my things out of my backpack and folded it into my purse but strangely the person after me came in with her backpack since i guess she argued more effectively than I did.
Maybe the Emerson Colonial will have now established some ways to handle this. One poster did remind me of the Boston Marathon's terrible bombing and one can see why the theater is concerned. It also has been mentioned that Harry Potter is concerned about backpacks also so it seems to be maybe a growing concern theatrically.
Posted: 7/11/18 at 10:23am
Ladybug101 said: "I have discussed the change in the Duke's persona in an earlier post but to respond to the poster who wonders why Satine doesn't pick him -- per my reading of Alex Timber's and othersrationale -- Satine finds the Duke's financial security, etc. very attractive but she deeply loves Christian and his innocence. This may be too ambiguousto maybe get. Oh and it's Tveit, not Tviet."
I also think they've focused on the plot point of the Moulin Rouge closing if Satine doesn't stay with the Duke and made that very important since Zidler was broke/him & the other dancers were afraid of going back to the streets and she didn't want that to happen for her "family". This wasn't really as explicit in the movie
Posted: 7/11/18 at 10:32am
disneybroadwayfan22 said: "SpectacularSpectacular isn't in this either?! I'm soconfused by these changes"
I would assume that "Spectacular, Spectacular" is listed as Galop Infernal, the Offenbach piece that serves as its scoring.
Posted: 7/11/18 at 10:42am
Kad said: "disneybroadwayfan22 said: "SpectacularSpectacular isn't in this either?! I'm soconfused by these changes"
I would assume that "Spectacular, Spectacular" is listed as Galop Infernal, the Offenbach piece that serves as its scoring.
"
It is still in the show, just shorter and with modified lyrics.
Posted: 7/11/18 at 10:46am
Posted: 7/11/18 at 11:00am
Posted: 7/11/18 at 11:50am
Posted: 7/11/18 at 11:50am
Posted: 7/11/18 at 11:54am
How did you like the Table Seating? Would you recommend buying tickets for the tables or several rows from the front in the orch? I run to the restroom just as the lights come down at intermission. Will this be a problem at the tables?
thanks
Posted: 7/11/18 at 11:55am
I'm not surprised the "Spectacular Spectacular" sequence has been revised; when I found out this was opening, my first assumption was "it's 2018, so they'll probably have to cut the subplot where Christian invents Bollywood."
Posted: 7/11/18 at 11:58am
jacobsnchz14 said: "To those who sat in, or noticed, the Sparkling Diamond seating, what are we talking about “audience interaction”-wise? Is it a lot, not enough, often, etc.? Is the pace of the show just as quick-paced as the film?"
There wasn’t a lot. Just as if dancers were looking at their audience and trying to draw them in. Lots of eye contact, some touching, one guy’s hair got played with, minimal conversation, etc. Again, I want to stress how tight the seating was. The head turning was a lot and if someone came down from the ceiling, your view was of the back of that person.
I just watched the movie again and think that the show is quicker paced than the movie. The movie has the capacity to come across as more artistic due to capabilities of film, but again, they did a great job.
Posted: 7/11/18 at 12:00pm
re: the song list - I'm a big fan of walk the moon, anyone know the context of shut up and dance/who sings it? I'm assuming either elephant love medley or something in the moulin rouge itself?
Posted: 7/11/18 at 12:03pm
schubox said: "Is Roxanne the way it was arranged in the show? With the tango and Christian singing while The Argentinan sings as well? I get they have to change some things to fit the confines of a live theater, but some of these changes (like The Duke) seem odd"
It has been edited. Putting it in the spoiler tag just in case
Roxanne is largely a Christian song now as he goes to get Satine from the Duke after he goes mad from the jealousy. The arrangement has been toned down so personally, did not have the same effect on me as did the movie. The tango part/choreo with the Argentinian got moved to Bad Romance at the top of Act 2.
Posted: 7/11/18 at 12:06pm
springwillcome said: "re: the song list - I'm a big fan of walk the moon, anyone know the context of shut up and dance/who sings it? I'm assuming either elephant love medley or something in the moulin rouge itself?"
Spoiler tagging again just in case (trying to answer as much as I can remember)
Shut Up and Dance is sung by Satine and Christian when they first meet to dance at the club after she mistakes him as the Duke (replacing the Rhythm of the Night scene in the movie). It is then mashed up with Raise Your Glass and becomes an ensemble piece.
Posted: 7/11/18 at 12:06pm
Posted: 7/11/18 at 12:13pm
Is there a standby/understudy listed for Satine? I'm not saying this to be snarky or start an argument but Olivio is out quite often and there is a good chance her cover will be going on a lot.
Posted: 7/11/18 at 12:13pm
After watching the movie again, I will say that I think “Come What May” has lost some of its specialness in the translation to the stage. It is no longer a “secret song” and that takes something away.
Posted: 7/11/18 at 12:16pm
Jordan Catalano said: "OK! I just got off the phone with the box office. They said backpacks and bags are allowed in the theater as long as they’re not oversized and can fit under the seat. I told them about all the reports from last night And he said they weren’t aware of anything like that, but that is not their policy."
Thanks for that info! I sent them the same question on fb messenger (Since there were so many reports from ticketing issues that that was the best way to contact them). I'll let you know if I hear back anything differently.
Posted: 7/11/18 at 12:24pm
kennin said: "After watching the movie again, I will say that I think “Come What May” has lost some of its specialness in the translation to the stage. It is no longer a “secret song” and that takes something away."
This was my number one complaint after seeing it last night. Of all the changes they made, I had the most issue with this one.
two ladies tickets said: "Is there a standby/understudy listed for Satine? "
Understudy for Satine - Natalie Cortez; and the rest of the understudies are: Christian - Joe Caroll, Dylan Paul; Zidler - Kevyn Morrow, Dylan Paul; Duke - Joe Carroll, Kevyn Morrow, Dylan Paul; Toulous - Olutayo Bosede, Kevyn Morrow; Santiago - Daniel J Maldonado; Nini - Natalie Cortez, Morgan Marcell, Jodi McFadden; La Chocolat - Natalie Cortez, Ericka Hunter; Arabia - Natalie Cortez, Ericka Hunter; Baby Doll - Morgan Marcell, Fred Odgaard
Posted: 7/11/18 at 12:30pm
gray_area said: "schubox said: "Is Roxanne the way it was arranged in the show? With the tango and Christian singing while The Argentinan sings as well? I get they have to change some things to fit the confines of a live theater, but some of these changes (like The Duke) seem odd"
It has been edited. Putting it in the spoiler tag just in case
"
Thanks for the response. A little disappointing. That’s maybe my favorite part of the movie. Such an emotional impact. However, we always have the movie version.
Posted: 7/11/18 at 12:46pm
gray_area said: "kennin said: "After watching the movie again, I will say that I think “Come What May” has lost some of its specialness in the translation to the stage. It is no longer a “secret song” and that takes something away."
This was my number one complaint after seeing it last night. Of all the changes they made, I had the most issue with this one.
I am glad that you agree. It is bothering more after watching the movie and seeing how special it was.
Posted: 7/11/18 at 12:46pm
gray_area said: "kennin said: "After watching the movie again, I will say that I think “Come What May” has lost some of its specialness in the translation to the stage. It is no longer a “secret song” and that takes something away."
This was my number one complaint after seeing it last night. Of all the changes they made, I had the most issue with this one.
I am glad that you agree. It is bothering more after watching the movie and seeing how special it was.
