Who needs ecstasy when we receive a "Moulin Rouge!"? From his swallowing sexual swords to pop-pop songs and singing dances, the show is as fine as the playoffs Liberace: the brilliant Broadway bomb.
The high begins when you enter the theater, Designer Derek McLane has become something like a nightclub that just rejects my request. Being in red light, four scary executives filled with crystal start singing "Lady Marmalade", which cancan begins with the story of a poor American writer in Paris and his dangerous cabaret starring.
I just do not appear looking for a Madame Tussaud's wax replica from Bas Lohmann's 2001 film. Songs like "El Tango de Roxanne", "Come What May", "Your Song" and "Diamonds are Girl's Best Friend" are still here, but there are about 70 party cravings joined. and dance "and" chandelier "of Sia among them.
These energetic new numbers boldly propel the show in the present and wear hymenics every time they perform skillfully. The evil duke of Monroe (Tam Mutu) is presented as "Sympathy for the Devil", and there is a group dance with a pulse to "Bad Romance" by Lady Gaga. And, from God, it works! The best show of this type from "Mamma Mia!", "Moulin Rouge!" It's a reminder that the musicals of jukebox are not obligatory for gentle giant tourist traps. They can be ̵
However, the story is for a traveler who feels trapped: 1899 and Christian (Aaron Twite), author of songs, dives Lima, Ohio, to Paris, just to find love in the Moulin Rouge, a decadent night club that serves men the boldest fantasies. The hopeless romantic is there to convince Satin (Karen Olivo) to fulfill his new show, but in the ridiculous mix she misses it for the mighty Duke of Monroe. Still, they fall in love madly, because falling in love with Tveit is not difficult.
But love is a battlefield, and the Christian is at war with the duke, a sadistic snob, who agrees to subsidize a struggling nightclub if owner Harold Zidler (Danny Burtstein) bends over his "Shining diamond," Satin.
Directed by Alex Timbers, the smartest move is not to try to repeat Lourman's quick sense of humor, which will collapse and burn on stage. Instead, he focuses on the grandiose emotions, sensuality and sensation of a first love story book for which Tate's ideal innocent dog is ideal.
A lyric like "Tonight. , we are young. So, let us burn the world, we will burn brighter than the sun! "It's not exactly" send to the clowns ". But Tavete sings her so seriously that it sounds like meaningful poetry. It is compatible with the royal Sato of Olivus, who is more practical and empowered by the incarnation of Nicole Kidman. The fact that the Duke of Mutu is not only dirty rich but also hot, makes the fight for Satin's heart much more convincing.
Just what Broadway needed: Wake Up Rouge.