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Time Out
4 days ago
- Entertainment
- Time Out
Moulin Rouge! The Musical
This review is from January 2022. The friend who was supposed to come with me to 'Moulin Rouge! The Musical' dropped out because of a migraine, and honestly, hard relate: director Alex Timbers's dementedly maximalist 'remix' of Baz Luhrmann's smash 2001 film is pure sensory overload. Frequently I found myself cackling hysterically at it, on my own, for no particularly good reason, other than how *much* it all is. If you can remember any of the 2001 film's music beyond 'Lady Marmalade' (here present and correct as show opener, complete with sassy, snappy choreography from Sonya Tayeh) you'll remember that the soundtrack largely consists of medleys of other people's songs. So we have 'Sparkling Diamonds', aka 'Diamonds are Forever' smushed into 'Diamonds Are a Girl's Best Friend' or the semi-infamous 'Elephant Love Medley', a wilfully preposterous amalgam of the cheesiest lines from myriad famous pop tunes, a veritable one-track sex mix. You have to think that it's essentially this that drew Timbers and music supervisor Justin Levine to 'Moulin Rouge!', as they've gone absolutely nuts with the idea, pumping the story full of pop songs old and new, fragmented and whole. Like a glittery cow jacked up with some fabulous experimental growth hormone, 'Moulin Rouge!' is now bulked into a veritable behemoth of millennial pop bangers. There are the ones that were in the film. There are some that were around when the film was made but weren't included ('Torn'; no kidding, the theme from 'Dawson's Creek'). Then there are more recent numbers that might have been included if they'd been written at the time ('Hey Ya', 'Firework', 'Bad Romance', 'Rolling in the Deep', the riff from 'Seven Nation Army'). And finally there are a few cool oldies, notably a late '60s Stones medley and a run-through for Timbers's old collaborator David Byrne's 'Burning Down the House'. It is, by design, far too much. Derek McLane's ravishing set is a garishly pulsing wonderland of belle époque neon, a recreation of the iconic Montmartre nightclub the story is set in at the dawn of the twentieth century. Though it is in fact absolutely ages before we get even a hint of plot amid the barrage of anachronistic pop tunes. Around ten minutes in, a line of dancers are doing the can-can to a distorted metal version of the iconic dance tune, and Clive Carter's Harold Zidler – who we can just about gather is the master of ceremonies at the club – fires confetti at us out of his cane then wanders off. And at that point we're still not particularly close to the story starting: the sturm und drang barrage is awesomely OTT. There must be at least 50 songs in the mix here: it's less a jukebox musical than a frantically-pressing-shuffle musical. But it's also… ridiculous? And not in a good way? More so than the film, 'Moulin Rouge!' The Musical' is entirely leveraged on the idea that pop medleys are cool. But as somebody who very much lived through the mash-up craze of the '00s and has dim childhood memories of Jive Bunny And The Megamixers, my question is: are pop medleys cool? Or at least, cool enough to build an entire musical around? I mean, maybe: they're a lot of fun, and as a historical craze that seems to have a moment in the sun every other decade, the '20s are ripe for a revival. But the fact is the form is not so dizzyingly brilliant that I felt forgiving of the plot when it did finally crawl out of bed. Beneath the songs we're stuck with a generic plod through the romance of the club's doomed, beautiful star performer Satine (Liisi LaFontaine) and penniless American dreamer Christian (Jamie Bogyo) who falls head over heels for her when he comes to pitch some songs her way. The vivacious LaFontaine and likeable stage debutant Bogyo – he looks a bit like a more cheerful Adam Driver – are very watchable, but there are plenty of points in the second half where the songs stop for a long time and we're left with a plot that's both wearily tropey and awkwardly po-faced. Sure, it's the same plot as the film, which I'd say has aged well. But the film had Nicole Kidman and Ewan McGregor at the peak of their powers: LaFontaine and Bogyo are good, but they're not stars in the same sense. The film had the ravishing hyperreal twinkle of Lurhmann's lens, and a deft mastery of its own melodrama that falls rather flat in John Logan's book for the musical – the big emotions are going through the motions. There is an obvious comparison to be made to '& Juliet', the other big millennial pop musical in the West End right now. But '& Juliet' has a giddy silliness that makes the characters a joy to spend time with. Here they're just walking plot devices, killing time between songs. It's a very fun night out, guaranteed to push the buttons of anyone who grew up on 'Pop World', 2manyDJs, or indeed, the films of Baz Luhrmann. But for all its tongue-in-cheek chutzpah, when the music stops you're not left with much.
Yahoo
20-05-2025
- Entertainment
- Yahoo
MAGA Kennedy Center Boss Demands Probe Into Its ‘Criminal Debt'
The head of the Kennedy Center, who was installed by President Donald Trump, has demanded an investigation into its 'criminal debt.' Richard Grenell has referred the Kennedy Center to federal prosecutors over its deferred maintenance and debt after a review 'found $26 million in phantom revenue, fake revenue,' The New York Times reported. The figures are from an audit by Donna Arduin, the center's new chief financial officer, though it was not immediately clear what dealings she thought warranted a criminal investigation. It is common for arts venues such as the Kennedy Center to operate at a deficit when they fall short of projected earnings. Grenell was installed as president of the Kennedy Center in February after Trump fired incumbent Deborah F. Rutter. Trump also removed the Center's Chairman, David M. Rubenstein, and awarded himself the position, vowing to make the venue 'non-woke.' A spokesperson for Rubenstein defended the financier's management of the Kennedy Center. 'With full transparency, the financial reports were reviewed and approved by the Kennedy Center's audit committee and full board as well as a major accounting firm,' he said, The New York Times reported. The Republican president's first act as chairman was to ban drag shows at the venue—though the center's 2025-26 season program announced Monday boasts performances of Chicago, Moulin Rouge! The Musical, Mrs. Doubtfire, and Monty Python's Spamalot, all of which typically feature actors in drag. Several high profile actors have refused to perform at the venue in response to Trump's ideological changes, among them a production of Hamilton which cancelled their planned run. The Alvin Ailey American Dance Theater, which is usually a mainstay of the center's program, said it would not appear during the ballet season. Instead, the company said it will 'pursue an opportunity with a partner that has a global reach,' without providing details. Actors have also spoken out over Trump's changes to the Kennedy Center. Last week Robert De Niro used his acceptance speech at the Cannes Film Festival's Palme d'Or lifetime achievement award to rip into the president. 'America's philistine president has had himself appointed head of one of our premier cultural institutions,' De Niro said. 'He has cut funding and support to the arts, humanities and education.' He added: 'The arts are democratic. Art is inclusive. It brings people together, like tonight. Art looks for truth. Art embraces diversity. And that's why art is a threat. That's why we are a threat to autocrats and fascists.'
Scotsman
02-05-2025
- Entertainment
- Scotsman
Moulin Rouge! The Musical at Edinburgh Playhouse is a spectacular show 'oozing glamour'
Watch more of our videos on and on Freeview 262 or Freely 565 Visit Shots! now Prepare to join the bohemian revolution as Edinburgh Playhouse transforms into the iconic Moulin Rouge. Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Adapted from Baz Luhrmann's famous 2001 film of the same name, Moulin Rouge! The Musical has been reinvented for the stage with brand new songs and all the spectacular flair you would expect from the world's most iconic can-can club. The musical brings to life the doomed romance between Satine, the "Sparkling Diamond" of the Moulin Rouge (played by Verity Thompson), and the penniless composer, Christian (played by Nate Landskroner). Joined by an eccentric ensemble of artists, poets and dancers, the lovers embrace the Bohemian Revolution of the 1890s. But the path to true love is never easy and the wealthy Duke (played by James Bryers) threatens to destroy their love affair, and the nightclub, if Satine does not succumb to his advances. Advertisement Hide Ad Advertisement Hide Ad Production wise, Moulin Rouge! The Musical is a spectacular show, bursting with intricate details and lavish design. With a towering windmill and giant elephant, the decadent production is simply irresistible, oozing all the glamour you would expect from the Parisian party venue. While the musical retains all the hedonistic glamour of the original movie, Moulin Rouge purists may find the inclusion of new songs slightly off putting. Like the movie the soundtrack is pretty much a jukebox musical, including a mashup of classic tracks from the likes of Elton John and T-Rex – but unfortunately not all have made the final cut which feels like a loss considering the Like a Virgin scene in the movie is a perfect comedy sketch, something the stage production also sadly misses out on. Instead, new tunes from current artists like Lady Gaga and Adele have been woven into the songs. Pop classics aside, Satine and Christian's secret love ballad, Come What May, is the big number of the show, reminding the audience exactly what the bohemians stand for – truth, beauty, freedom and love. Moulin Rouge! The Musical is an eccentric love affair that is told beautifully for the stage, so don't miss your opportunity to join the can-can dancers while the show is in town. Moulin Rouge! The Musical is on at the Edinburgh Playhouse until 14 June 2025. Tickets are available ATG Tickets.
Scotsman
02-05-2025
- Entertainment
- Scotsman
Watch: Behind the scenes at Moulin Rouge! The Musical at Edinburgh Playhouse
The 'wardrobe village' is packed with sequinned costumes for Moulin Rouge! The Musical. Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... It is the spectacular musical featuring 75 songs and more glittering outfits than even its own costume supervisor is able to count. Now Moulin Rouge! The Musical has opened at the Edinburgh Playhouse - and The Scotsman got a look behind the scenes of the spectacular performance. Advertisement Hide Ad Advertisement Hide Ad In the Playhouse's vast 'wardrobe village', which costume supervisor Sabrina Cuniberto says is bigger than that of most London West End theatres, heavily sequinned and corseted costumes adorn the racks. Costume and wardrobe staff have been working on the show for the past eight months. Individual measurements of each actor - and separately their understudies - have been taken and costumes made accordingly. With many costumes tightly fitted, each one has to be specifically tailored to the performer by specialist teams from around the UK. 'Nude' sections of the costumes are created to match individual actor's skin tones. The spectacular costumes included 2,000 different materials. | Scotsman 'It takes a long time [to put them together],' Ms Cuniberto says. 'There are about 2,000 fabrics in the show. Everything is thought through to the last detail and everything is made, nothing is purchased.' Advertisement Hide Ad Advertisement Hide Ad Hanging neatly on organised rails, the vast wardrobe village also includes dozens of pairs of footwear, including the silver sequinned boots worn by leading character Satine, wigs, hats and jackets. 'I've never counted them,' Ms Cuniberto says. 'There are a lot. They're all gorgeous and so different. Each one is for an individual scene, there are a couple which get repeated, but otherwise it's a new outfit you see on stage every time.' The outfits for the can-can scenes are arguably the most eye catching, with layers of coloured ruffles sewn into the skirts. Advertisement Hide Ad Advertisement Hide Ad 'They are spectacular and they really rise up to the occasion, with this wonderful set and stunning production,' says Ms Cuniberto. 'They all have their own colour scheme, so when they come out, it really is a feast for the eye, with them dancing and moving and inside, the skirts are very colourful, with layers. It's is all aimed at this one moment of choreography. Sabrina Cuniberto looks through the Moulin Rouge! The Musical wardrobe village at the Edinburgh Playhouse. | Scotsman 'They're inspired by the film and the original can-can days back in the day in Paris, with a nod to couture and more contemporary fashion.' The show is in the first week of an 18-month run that will take the production around the UK, before heading to Dublin and later Zurich, in Switzerland. The run is the first leg of a world tour, full details of which have not yet been announced. Advertisement Hide Ad Advertisement Hide Ad Producer Carmen Pavlovich says Edinburgh was carefully selected as the first venue for the tour. The spectacular set, including the iconic windmill, has been moved in for the eight weeks of performance. 'We're excited to open in Edinburgh, it's a lovely, vibrant city,' she says. 'It's always been important to us that we are somewhere that has deep, cultural diversity and the themes of the art and music of the show can spill out beyond the theatre and into the city. So Edinburgh felt like a really natural place for us to launch the tour.' Moulin Rouge! The Musical kicked off its 18 month tour in Edinburgh. | Scotsman Now, Moulin Rouge! The Musical, which has some updates from the 2003 film version, including featuring modern hits in the score, has welcomed its ten millionth audience member this week. The show is running in London's West End, as well as the touring performance. Ms Pavlovich adds: 'The film is really beloved around the world. It's just wonderful that the audiences of Edinburgh feel so fondly about it.
Scotsman
01-05-2025
- Entertainment
- Scotsman
Moulin Rouge! The Musical, Edinburgh review: 'spectacular'
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Moulin Rouge! The Musical, Playhouse, Edinburgh ★★★★ The red curtain trilogy, director Baz Luhrmann called his trio of films on theatrical themes - Strictly Ballroom, Romeo And Juliet, Moulin Rouge - all made between 1992 and 2001. And it was in a mighty blaze of red and gold - all red plush curtains and glowing illuminated windmills - that the latest version of Moulin Rouge! The Musical launched its world tour in Edinburgh on Wednesday night, in front of a packed and delighted Playhouse audience. Set in Paris in 1900, Moulin Rouge is a fabulous pastiche of a show, that draws on classics from La Boheme to The Lady of the Camellias for its story about a young visiting American called Christian, who falls passionately in love with the star of the Moulin Rouge cabaret, the lovely and talented Satine. Advertisement Hide Ad Advertisement Hide Ad Moulin Rouge! The Musical | Contributed The cabaret is run by flamboyant host and compere Harold Zidler, whom Christian hopes will help him pursue his ambitions as a songwriter; but it soon emerges that Harold is all but bankrupt, and is relying on Satine's charms to win financial support from a wealthy Duke who visits the club. The plot therefore revolves around a classic tension between Christian's idealistic young love for Satine - which she fully returns - and the pressures of her hard and complicated life, which have seen her rise by sheer talent and determination from a grim childhood on the streets to her current star status. And like Luhrmann's film, this spectacular stage version captures the story in a slightly startling juke-box-musical style, featuring a range of familiar 20th and 21st century hits often with cleverly adapted lyrics, from Voulez-Vous Coucher Avec Moi Ce Soir, through Material Girl, to Elton John's beautiful Your Song. In Alex Timbers' new production - set to tour on this year to Bristol, Manchester, Birmingham, Dublin and Zurich - Verity Thompson makes a poignant and vocally powerful Satine, while Nate Landskroner deftly handles the difficult task of playing Christian both as romantic hero and as slightly ironic link to the 21st century audience, claiming with a nod and a wink to have written both Your Song, and The Sound Of Music. And Cameron Blakely, as embattled impresario Harold Zidler, stands at the dramatic heart of the story, in a performance that - given the musical mix - often seems as much British end-of-the-pier as 19th century Montmartre; but is backed by a superb live band and 20-strong ensemble, who deliver the show's complex mash-up score - and Sonya Tayeh's hard-edged night-club choreography - with a flair and energy that, on Derek McLane's dazzling set, finally brings the audience to their feet, in a well-deserved standing ovation.
