Moulin Rouge! The Musical, Playhouse Theatre, Review

Rating (out of 5)
4
Moulin Rouge! The Musical - Photo credit Johan Persson
Show details
Company
Presented by Global Creatures. Produced by Carmen Pavlovic, Gerry Ryan, Bill Damaschke and Angela Dalton. Executive producer, Nick Grace Management.
Production
John Logan (Writer – book, based on the motion picture written by Baz Luhrmann and Craig Pearce), Alex Timbers (Director), Baz Luhrmann and Catherine Martin (Creative Services), Sonya Tayeh (Choreographer), Justin Levine (Music supervisor, orchestrator, arranger & additional lyrics), Gemma Hawkins and James McKeon (Co-musical directors), Derek McLane (Scenic designer), Catherine Zuber (costume designer), Justin Townsend (Lighting designer), Peter Hylenski (Sound designer), Ben Ferguson (Musical director), David Brian Brown (Hair designer), Sarah Cimino (Makeup designer), Matt Stine and Katie Kresek (Music Producers), Carmen Pavlovic, Gerry Ryan and Bill Damaschke (Producers), Nia Janis (Executive producer).
Performers
Verity Thompson (Satine), Nate Landskroner (Christian), Cameron Blakely (Harold Zidler), Kurt Kansley (Toulouse-Lautrec), James Byers (The Duke), Johnny Galeandro (Santiago), Kahlia Davis (Nini), Summer Priest (Arabia), Scott Sutcliffe (Baby Doll), Ellie Jane Grant (La Chocolat), Patrice Tipoki (Alternate Satine), Dominic Booth (Pierre / Ensemble), Alisha Capon (Swing), Sol Childs (Ensemble), Áine Curran (Swing), Kamau Davis (Ensemble), Martin Dickinson (Walking Cover Harold Zidler / The Duke), Barry Drummond (Ensemble), Tosca Fischer (Ensemble), Tessa Fox (Swing), Jacob Fearey (Ensemble), Johnny Galeandro (Ensemble), Leyton Holmes (Swing), Sayaka Kato (Ensemble), Jacob Kohli (Ensemble), Tyler Lotzof (Ensemble), Avigalle Mendoza (Ensemble), Carly Miles (Dance Captain / Swing), Luchia Moss (Ensemble), Matt Powell (Swing), James Revell (Dance Captain / Swing), Josh Rose (Walking Cover Christian / The Duke), Samuel Routley (Ensemble), Nathan Saxon (Swing), Sorcha Stephenson (Ensemble), Frazer Woolcott (Ensemble). Band – Arlene McNaught (Keyboard / Assistant musical director), Scott Chapman (Drums / Latin Percussion / Mallets), Meeli Traill ( Electric Bass / Upright Bass), Neil Morgan (Electric / Acoustic Guitar 1), Yue Miyagi (Electric / Acoustic Guitar 2), Savannah Brown (Violin / Viola), Francesca Cull (Cello), Rob Greenwood (Trumpet / Flugelhorn / Piccolo Trumpet), Nathan Hawken (Tenor Sax / Baritone Sax / Clarinet / Flute). (Andy Barnwell & Richard Weeden (Orchestral management for BW Musicians Ltd)).

"This story is about truth, beauty, freedom; but above all things, this story is about love."

When the young, naive, and romantic Christian arrives in fin de siècle Paris, he dreams only of becoming a writer. But he soon finds himself swept into a love story more spectacular than anything he could have imagined.

At the vibrant heart of this tale is the Moulin Rouge—a hedonistic, extravagant cabaret in the bohemian Montmartre district, pulsing with creativity, decadence, and intrigue. It is a place where dreams, desires, and love stories unfold amid a mix of wealthy aristocrats, eccentric artists, and outcast misfits, all set against a dazzling backdrop of lavish performances, glittering costumes, and glamorous dancers.

Christian is introduced to this world by eccentric artist Henri de Toulouse-Lautrec, whose artistic ambitions have evolved from painting posters for the venue to the more elevated idea of a stage show, “Spectacular Spectacular”.   

The dazzling nightclub is partly an illusory realm however, financially sustained by the alluring Satine, its “Sparkling Diamond” headline act. Beneath the glitter it’s slipping through the fingers of owner and MC Harold Zidler. The show might go on with the patronage of the wealthy Duke of Monroth, but the manipulative aristocrat will demand more, believing that he can buy love and loyalty.

Christian and Satine will be forced to navigate a deceptive path between love, obsession, money and sacrifice as illusion collides with the harsh realities of life to ultimately reveal the greatest thing they will ever learn.

Borrowing from Puccini’s La bohème (Luhrmann directed a modernised version in the early 90’s), this is a postmodern mash-up of Bollywood movie, Greek Tragedy and music videos.  The source 2001 film is often considered an all-time great,  ranking 53rd in the BBC's 2016 poll of the 100 best films of the 21st century.  The musical, first staged in 2018, is the winner of ten Tony Awards ®.

An all singing, all dancing production, it is a dazzling stage spectacular that is nothing short of stunning. There are excellent performances by the leads, capably assisted by supporting characters and the electrifying choreography of the ensemble. 

For all the breakneck speed, parts of the deliberately chaotic first act slightly out stay their welcome before settling into the more focussed second. A common issue with jukebox musicals is that they often feel shot through with songs which only vaguely serve the plot.  Here the challenge is slightly different - the songs come so fast, furious and fractured that they have the sense of being fired out of a confetti canon. On the plus side, the show offers an impressively curated, anachronistic soundtrack that feels fresh and vibrant. However, the rapid-fire delivery sometimes undermines narrative momentum, turning moments into a distracting game of “Name That Tune” rather than advancing the story.

The production is intermittently clever, though at times the exaggerated theatricality borders on the surreal.  Embracing a maximalist aesthetic but paired with a minimalist plot and a lot of songs it is a true “Spectacular Spectacular” but not necessarily a musical. Homage was paid to the real-life Zidler for having the “knack of creating popular pleasure, in the finest sense of the word, of entertaining crowds with subtlety …”.  There is no sign of restraint here though, it’s a dazzling, wild, over the top whirlwind which is largely faithful to the film and has the same stylised polarising tone of being either thrilling or draining. Or possibly both.

It might fall short of its possibly mythic intentions but it’s unique and hugely entertaining.  As the flamboyant Zidler pitches the show “So exciting the audience will stomp and cheer; so delighting, it will run for 50 years”.  The enduring existence of the actual Moulin Rouge cabaret venue after 135 years shows that the musical’s themes of art, dreams, love, and spectacle continue to captivate audiences.

 

Show Times:  22 April to 14 June 2025. Monday to Saturday at 7.30pm.  Thursday and Sunday matinee at 2.30pm.

Tickets: From £15 to £145 (other packages available).

Suitability: 12+ (Note - the show contains flashing lights, strobe lights, fog, loud bangs and the appearance of firearms).