Why the hate for moulin rouge — Page 2

I had a fantastic time, as did my mother (who, actually, was the driving force to see the show). My main criticism was that the show-within-a-show climax was a major fumble and letdown, especially compared to the over-the-top spectacle of the climax of the film.

Frankly, the obsession with whether a show is an "original musical" as an indicator of worth and quality drives a lot of prejudice against anything that doesn't fit that criteria for a lot of people on here. I thought MR sets a target for itself- admittedly not a high target- and hits a bull's eye. I can't say that about a lot of new musicals these days, "original" or not.

IHeartNY2 said: "As a general rule, if a show doesn't have "Hamilton," "Hades," "Six" or "Company" in its title, or has even the slightest tinge of a jukebox, it's screwed."

That's nonsense. No show is going to be universally loved, and people not liking a show that you like doesn't make them biased. I couldn't watch 10 minutes of the movie, so seeing the show was not on my to do list. That said, I know quite a few people who loved the movie and couldn't wait to see the show, who then saw it and were completely underwhelmed. Even so, liking a show doesn't necessarily mean it's a good show; there are two or the shows I saw recently that I liked, but weren't actually good. But they were entertaining enough for me.

VintageSnarker said: "
Also, yes. Bad use of the songs. I didn't even hate all the new song choices. But this show has no restraint. It cannot help but pile on more and more."

It's built as a tourist trap, and it works as that. The fact that the show starts with Lady Marmalade to appease the masses, and before even trying to approach any of the narrative, shows that it's a far cry from the innovative Luhrmann vision for the story.

(1) I think the show feels largely pretty soulless. They capture the glitz and glamor of the Moulin Rouge, but it's completely lacking in the creative spirit of Lurhmann's directorial style.

(2) As you said, I felt absolutely zero chemistry between Tveit and Olivo, and the passionate, sexy love story is a big part of what anchors the film.

All of this, and I also felt that very few of the changes made to the stage version, songs or script, were for the better. The most the musical accomplished, for me, was to underline why the film was so special and effective.

StageLight said: "Haven't seen the show but hated the movie. Once Nicole Kidman started writhing all over the floor and screaming I couldn't take any more and wanted to leave. That scene was milked dry."

Well then, be glad you didn't catch Karen Olivo fake coughing as if the audience had never seen a sick person before.

There's a moment in Moulin Rouge near the end of the show where Toulouse-Lautrec tells Satine that he will make her immortal as ensemble members assemble upstage in costumes based on his masterpieces of Mademoiselle Cha-U-Kao and Jane Avril. As an artist and Francophile, it represented to me what could've been instead of the crass commercialism on stage but c'est la vie.

I mentioned this brief moment to a friend who had seen the show a few times and they were surprised as they did not know that Toulouse-Laurtrec was a real person. The show's target audience I suppose.