Arts

A Must-see Moulin

by Jules Becker
Wednesday Aug 8, 2018

Moulin Rouge!The Musical, presented by Ambassador Theatre Group at Emerson Colonial Theatre, Boston, through August 19. 888-616-0272 or EmersonColonialTheatre.com

The crown jewel of Boston boasts a new luster. Icon meets icon in the serendipitous re-opening of the 118 year old Emerson Colonial Theatre with a new show as visually stunning as its renovated interior.

Closed for two and one half years, the Colonial is showcasing the pre-Broadway tryout of "Moulin Rouge!The Musical"-an adaptation of the splashy Baz Luhrmann film and a celebration of the title Paris nightclub. Is the show version too glitzy for its own good? Ultimately likely to dazzle a Broadway audience as much as its Hub one, "MR!" proves uncannily true to the signature charms of this enduring French hot spot.

If the John Logan book could do with some tightening, the Colonial world premiere proves as inviting as the Toulouse-Lautrec poster that first advertised the Montmartre landmark.

Set in 1899 Paris as in its 2001 film predecessor, "Moulin Rouge!The Musical" is as evocative in its own way as the superior 1930's Berlin-set "Cabaret." Admittedly "MR!" -with Toulouse-Lautrec briefly reminding the villainous Duke of Monroth that France remained a republic-lacks the latter's pre-Holocaust momentousness.

At the same time, with a vocal repertoire depending on hits ranging from the Rolling Stones, Elton John and Gnarls Barkley to Adele, Lady Gaga and Florence and the Machine, "the Tony Award-winning "Cabaret" has the added virtue of an original and still-arresting score. Still, both possess a naïve American writer-bi-sexual budding novelist Clifford in the Kander and Ebb modern classic and straight composer-writer Christian in "MR!"-who grows emotionally and culturally in an unfamiliar and ever-evolving setting.

Curiously both the Tony Award-winning revival of "Cabaret" and "MR!" usher in theatergoers to a showplace that extends beyond their respective stages. The Berlin Kit Kat Club, of course, finds scantily clad chorus women and men-and under-dressed musicians in many productions-establishing a decadent ambience even before the insinuating Emcee begins the opening "Willkommen" number.

As for the Moulin Rouge, two hunky males with fairly bare torsos hang out at the side of stage right while a counterpart wriggles at the side of stage left later to be joined by a pole-working woman. Other performers sport top hats and formal wear with some bare skin in Catherine Zuber's richly varied costumes. In both musicals some audience members sit at small cabaret tables. A stage right red windmill in Derek McClane's vivid scenic design connects with the meaning of 'Moulin Rouge'-French for 'red mill'-and two elephant images-one large and looming stage left and another surrounding club songstress-courtesan Satine's dressing room-have different desired effects.

A beautiful high-rising homage to Toulouse-Lautrec's arts makes this critic hope that the show will add some moments showing the painter and his work at his simple residence.

Initially Moulin Rouge impresario Harold Zidler seems to usher in patrons to his club a la the beckoning Emcee in "Cabaret." Six-time Tony nominee Danny Burstein (most recently for his fine effort as Tevye in a revival of "Fiddler on the Roof) has the right combination of histrionics and elusiveness as Zidler speaks of patrons' fantasies living at the club.

A strong singer, he delivers the impresario's Florence and the Machine solo "Shake It Up" with crisp phrasing and ample energy. Talented Broadway director Alex Timber ("Peter and the Starcatcher" and "Bloody Bloody Andrew Jackson") would do well to give him more opportunities to sing and give full vocal expression to Zidler's concern for ailing Satine and his struggle to keep the Moulin Rouge viable.

By contrast, Karen Olivo has good opportunity to belt. The big-voiced Tony Award winner (a strong performance as Anita in a recent revival of "West Side Story") demonstrate real presence from the start as Satine enters eye-catchingly on a swing-think of a similar entrance by Pink at a recent Grammy Awards. She shares sweet romantic stretches with Aaron Tveit as Christian-notably a heartfelt love duet. Still, there are moments when Olivo could tone down her deliveries to make Satine more vulnerable.

Tveit captures Christian's sensitivity and his growing angst and frustration as the Duke of Monroth takes more and more control at the Moulin Rouge. Sahr Ngaujah as Toulouse-Lautrec delivers the insight of "Nature Boy" with good feeling, and Tam Mutu smartly understates the Duke's malevolence. Sonya Tayeh's choreography includes some sharp ensembles and a clever