'Moulin Rouge! The Musical' review: Dazzling spectacle lacks the depth of its cinematic predecessor

Courtesy of Broadway in Detroit

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The movie-to-musical pipeline is alive and well with “Moulin Rouge! The Musical,” an adaptation of the beloved 2001 Baz Luhrmann classic that kicks off the 2024 Broadway in Detroit season. The show, which won the 2020 Tony Award for Best Musical in a year heavily impacted by COVID—an accolade that perhaps deserves an asterisk—doesn’t have to look far for inspiration, as the film provides ample foundational elements. However, not everything translates seamlessly to the stage.

Featuring an updated playlist that propels the production into the new millennium, fans of the film will be surprised to hear needle drops from Britney Spears, Sia, Adele, and The Rolling Stones, while iconic numbers from the movie still make an appearance. The can-can chorus line and the never-ending search for love remain prominent staples. Directed by Alex Timbers, this big-budget, all-encompassing show boasts outstanding costumes, top-quality production design, and electrifying choreography that only a Broadway-caliber show can deliver. However, this can lead to an overwhelming and ultimately hollow theatrical experience.

This is the kryptonite for jukebox musicals of this nature. When the flashy and dazzling numbers subside—and there are many, including a standout performance set to Spears’ 2003 anthem “Toxic”—we are left with a basic storyline that lacks the bravado Luhrmann achieved by casting juggernauts Ewan McGregor and Nicole Kidman as struggling composer Christian and courtesan Satine. In film, Luhrmann’s playfulness with conventions creates a dizzying experience, but on stage, it can feel stagnant.

For instance, the first ten minutes of “Moulin Rouge! The Musical” comes closest to capturing the frantic madness and jump-cut energy of the film with its finale-like opening number, “Lady Marmalade.” This wild, in-your-face extravaganza, overloaded with visual stimuli, practically sets itself up for failure, as there’s nowhere to go but down from such a high-energy start.

Christian Douglas stars as Christian, a struggling lyricist and composer from Lima, Ohio, who seeks inspiration in the bohemian slums of Paris, where he meets and falls in love with Satine (Gabrielle McClinton—somewhat underwhelming), the enchanting headlining performer of the infamous Moulin Rouge.

The iconic nightclub teeters on the brink of closure, but the rowdy emcee and co-founder Harold Zidler (Robert Petkoff, channeling big Kenneth Branagh energy) devises a plan for Satine to cozy up with the persnickety Duke of Monroth (Andrew Brewer—who would surely twirl a mustache if he had one) to fund an original musical that could redefine the Rouge and save it from obscurity. This musical mirrors the real-life love triangle between Christian, Satine, and the Duke, creating a world of conflict as the company works overtime to bring it to life.

While this narrative element remains largely unchanged from the film, the transition to the stage poses challenges for writer John Logan. The original movie was already a musical, so the stage adaptation can feel less vital—and, worse, diluted. Where the film was calculated in its use of songs, here, the vast catalog—some 70 songs from approximately 161 credited authors and artists—often feels overwhelming and undermines the emotional weight the show seeks to convey.

For example, a rendition of Adele’s “Rolling in the Deep” late in the show serves as a pivotal moment for Christian, yet its use feels disingenuous. Instead of focusing on the character’s journey, the audience is left to simply sing along in their heads.

Similar instances abound, with additional artists like Rodgers and Hammerstein, Elton John, Dolly Parton, Bono, David Bowie, and Sting thrown into a series of contemporary mashups that are fleetingly amusing but dramatically inert. Credit is due to Justine Levine for his arrangements and orchestrations, which sometimes invigorate the songs. However, the constant use of them as punchlines or foreshadowing becomes a running gag that overstays its welcome.

As is often the case with these adaptations, the film remains the stronger and more rewarding experience (I have yet to find a movie-to-musical that surpasses its source material). “Moulin Rouge!”—despite its stunning production design, dynamic choreography by Sonya Tayeh, and an electric ensemble—lacks narrative depth. It exemplifies the notion that less is more and there must always be substance to complement style.

MOULIN ROUGE! THE MUSICAL continues through October 6th at the Detroit Opera House. Tickets can be purchased via Ticketmaster.