The Johnson Financial Group Broadway Series at the Marcus Center for the Performing Arts concludes its 2023-24 season with a bang. No, this is not a reference to the confetti-spewing walking stick owned by the impresario in Moulin Rouge! The Musical now playing in Milwaukee for a two-week run. It is a reference to the most sumptuous, over-the-top musical to visit here this season – and the only show in the current season that is staying beyond its typical, one-week run.
Fans of the well-known film, starring actor Nicole Kidman, will find a lot to like in this musical, which has taken historical fact, added a love story and given the tale a 21st century twist. Like the film, the musical lurks in the shadows of the real-life Moulin Rouge, a well-known Paris landmark in the artsy, sometimes seedy Montmarte neighborhood. The musical, like the film, is set in Paris, 1899.
This was a time in which the city’s upper-crust enjoyed seeing the “other side of the tracks,” as it were, where they could abandon their genteel manners and openly leer at the young, female nightclub stars who weren’t far removed from the prostitutes who inhabited the neighborhood. It was in the Moulin Rouge that the most famous French dance, the can-can, was born. In the musical, a spirited cast of lovelies do an excellent interpretation of this dance form. They wear heavy make-up and are clad in colorful, multi-tiered skirts (by Catherine Zuber) to entice the male clientele.
Milwaukee audiences who cannot wait for the traveling can-can dancers to arrive at the annual Bastille Days celebration in July can enjoy an eyeful here. There is no lack of swirling skirts, long legs and joie de vivre here. The young dancers perform an exquisite kick line and then leap nimbly to the floor, ending up in the splits. They are accompanied by the traditional “can-can music.”
After about 25 minutes, the musical finally introduces its well-known star, the effervescent Satine (Gabrielle McClinton). Nearly past her prime and riddled with consumption, Satine first appears on a swing. She sways glamorously above the crowd. As Satine, McClinton gives what gentlemen have come to see: an unmatched face and figure, powered by an exceptional voice.
A mix-up in introductions after the show causes Satine to turn her attentions to a young American (Christian Douglas), who she thinks is actually the Duke of Monroth (Andrew Brewer). In a conversation with the Moulin Rouge’s owner, Monroth pledges to keep the failing Moulin Rouge afloat financially – if he is satisfied after spending a night with Satine.
Some minor characters add sizzle to the production, such as Henri Toulouse-Lautrec (Nick Rashad Burroughs). In reality, the impressionist painter Toulouse-Lautrec was instrumental in showcasing the spectacle of the Moulin Rouge, and he painted some of the show’s most famous posters. His ever-present sidekick is Santiago (Danny Burgos), a strong-man type.
One of the most compelling – and perplexing – elements of this musical is its reliance on a mix of current pop music, well-known opera standards and jazz classics. More than 70 songs are featured here. Some pop up repeatedly, while others just breeze in and out after a few stanzas. Be prepared for an eclectic mix that includes songs by Madonna, The Rolling Stones, Beyonce, Elton John (especially, “Your Song,” 1970) and even Nat King Cole (“Nature Boy,” 1948, although it’s the David Bowie version that winds up in Moulin Rouge).
The songs, often mashed together in several medleys, determine Moulin Rouge’s category as a jukebox musical. However, the show’s lavish sets, dazzling lighting design and gorgeous costumes promise something more. There is an undercurrent of sensuality here, sometimes bubbling to the surface, such as when Satine and Christian first meet and fall in love.
Still, Satine’s position in the company demands that she must conjure up her sexual chemistry on cue, without revealing a hint of the abuse, desperation and illness that lie within her.
Harold Zidler (Robert Petkoff) is the business’ owner and master of ceremonies. He is the one who rescued Satine from “the gutter,” and catapulted her to stardom. Eventually, he puts the Moulin Rouge’s survival in Satine’s hands. He announces that the Duke (Andrew Brewer) will come to visit her in her dressing room following her final performance of the night. “You know what to do,” he says wearily, as one who knows exactly what will take place upon the Duke’s arrival.
Eventually, it becomes obvious that Satine’s is experiencing a physical decline. Even the businesslike Zidler becomes alarmed and swears he’s going to take her to the hospital. Finally, Satine admits that she has already seen a doctor, and nothing can be done about her advanced case of consumption. The brave Satine seems less interested in maintaining her health than keeping news about her illness and some unsavory details about her life from the impressionable Christian. Eventually, Satine can take no more. She collapses into Christian’s arms and dies.
Although Satine meets a dramatic end, it doesn’t pack the punch that it might have had under other circumstances. The constant flow of well-known tunes throughout the show keeps things on a superficial level for the audience. This prevents them from identifying with the characters, the plot, or even the turn-of-the-century setting.
Another obstacle is the Duke. He is such a one-dimensional character that he and Christian are almost mirror opposites of each other. The Duke repeatedly mentions that his newfound control of the Moulin Rouge means that all of its employees are “his.” This especially applies to Satine. Although she is dressed to the nines and promised an exquisite villa for her troubles, she secretly longs to live a humbler life with the naïve Christian.
Finally, it is the talented ensemble that pumps so much life into Moulin Rouge. Their nonstop dancing (choreography by Sonya Tayeh) lifts the show to a higher level than the main characters could possibly achieve on their own. The live orchestra, under the supervision of Justin, Levine, moves nimbly through the different types of tunes.
Overall, the blend of an almost pulsating set (by Derek McLane), transcendent lighting (Justin Townsend), an unrequited love story and talented performers give the audience what it wants – something glitzy and entertaining.
Such a juxtaposition is clearly evident in Moulin Rouge! The Musical, in which gentlemen in tuxedos and top hats enjoy the antics of a stage show designed for their pleasure.
