Moulin Rouge!, Tour presented by Broadway in Boston at Citizen Bank; Opera House through February 4. BroadwayinBoston.com.
Call "Moulin Rouge!" a jukebox musical with a difference. Unlike the ABBA-scored "Mamma Mia!" or Alanis Morisette-connected "Jagged Little Pill," the 2019 Tony Award winner evokes both a state of mind—about the Belle Epoque art centered Montmartre of turn of the 20th century Paris-and an enchanting ambience—namely the title 1889 nightclub.
A pre-Broadway 2018 phenomenon at the Emerson Colonial Theatre, "Moulin Rouge" has now returned in a high-stepping, visually stunning tour at the Citizen Bank Opera House. If the evocation proved more intimate for this critic at the Colonial, the experience remains as vividly captivating at the Opera House.
As at the Colonial, the experience begins as audience members reach their seats. Male and female dancers who could appear in nightclub-set paintings by Henri Toulouse Lautrec stretch and move with gymnastic grace at both sides of the Opera House stage in attractive tight outfits—designed as sharply by Catherine Zuber as the dress fare of the affluent patrons at the Moulin Rouge(founded in 1889 and now frequented by tourists).
Soon flamboyant impresario Harold Zidler (inspired by Charles Zidler, who co-founded with Joseph Oller) opens the actual club spectacular that features a high —kicking can-can sextet and a rich variety of dance moves brilliantly choreographed by Sonya Tayeh.
Director Alex Timbers effectively establishes the struggling artists versus thriving businessman contrast that often drives the proceedings with writer Christian, painter Toulouse-Lautrec and dancer Santiago stage left and the imperious Duke of Monroth stage right. Toulouse-Lautrec, speaking for the artists and hard-working citizens, proclaims their common motto: Truth, Beauty, Freedom and Love.
Fans of the inspiring 2001 Baz Lurmann movie of the same name will know that newcomer Christian—here from Ohio as opposed to the Englishman in the movie—will be drawn to the singing headliner Satine. The story of his passionate love for the spell-binding but fragile chanteuse is the focus of the musical's relatively uncomplicated book.
While the plot may seem like a poor man's romance, the show's production values are as exquisite as Satine's Tiffany and Cartier tastes. Quite fittingly, gifted designer Derek McLane provides a diamond-shaped platform for the top hat-donning singer's motif medley—including the James Bond number "Diamonds Are Forever," the iconic "Diamonds Are a Girl's Best Friend" and the Madonna hit Material Girl."
Satine's popular routines notwithstanding, Zidler needs to satisfy the potential financial savior Duke's emotional interest in the singer and stage a hit new production at the nightclub. Will Satine favor the Duke over Christian? Will Christian's writing and the characters in the show come too close to home for Monroth?
The answers should be fairly obvious to theatergoers not familiar with the film. Even so, there is an uncommon bounty of rich design as well as a clever connecting of music by the likes of David Bowie, Adele and Lady Gaga to the characters' relationships and fortunes.
A strong cast makes those relationships and fortunes engaging. Christian Douglas may not be quite as compelling as Aaron Tveit at the Colonial, but he does capture Christian's early naivete and eventual savvy. Gabrielle McClinton is very persuasive as often bewitching Satine. Tveit and Karen Olivio had stronger chemistry in the pre-Broadway edition, but Douglas and McClinton make their romance convincing. Nick Rashad Burroughs sings robustly as Toulouse-Lautrec, and Danny Burgos displays fine flair as Santiago. Sarah Bowden is a standout as acerbic but insightful dancer Nini. Robert Petkoff catches Zidler's expansive body language as impresario and contrasting insecurity as he deals with his inconstant male lover attendant and the Duke. Andrew Brewer is properly rough as Monroth.
Initially Satine—mistaking the writer for the Duke—reflects that Christian is not what she expected. Theatergoers looking for intricate plotting may be surprised, but "Moulin Rouge" is delightfully different. Vive la difference!