‘Moulin Rouge: The Musical’ Is for the Dreamers, Bohemians, and Lovers

Directed by Alex Timbers and adapted from the film by Baz Luhrmann, Broadway in Boston’s “Moulin Rouge: The Musical” is a celebration of truth, beauty, freedom, and love. The pre-Broadway production of “Moulin Rouge” originally premiered in 2018, right here in Boston at the Emerson Colonial Theatre. Since then, the Broadway show has gone on to win much critical acclaim, including 10 Tony Awards. Seven years later, the musical brought the spirit of the Parisian Moulin Rouge back to life at Boston’s Citizens Bank Opera House.

The set of “Moulin Rouge” is titillating from the very onset of the show. From the raunchy opening rendition of the Grammy-nominated number “Welcome to the Moulin Rouge!,” the constant set changes keep the show tangible, maintaining the balance between debauchery and narrative. From the grimy streets of Montmartre to the splendor of the Champs-Élysées, Derek McLane’s scenic design faithfully portrays the dichotomy of the Bohemian and aristocratic Parisian experiences. Even during the preshow, as members of the ensemble come onstage to set the tone, their costumes, designed by Catherine Zuber, help to authentically transport the audience into the setting.

Perhaps the jukebox musical’s most notable achievement is the swath of musical genres captured within its two-and-a-half-hour runtime. From the comedic relief of Lady Gaga’s “Bad Romance” to the “Bridgerton”-esque waltz routine set to Lorde’s “Royals,” the song choice keeps the show modern. Due to the sheer number of songs in the repertoire, however, some numbers were cut regrettably short. The infamous “cancan” dance barely starts before it ends, leaving the audience wishing for more. Nevertheless, the impressive range of musical styles represented ranges from to a-ha’s ’80s staple “Take On Me” to The Beatles’ ’90s hit “All You Need Is Love” and Outkast’s 21st century hip hop bop “So Fresh, So Clean,” coming to a boil with Adele’s “Rolling in the Deep.” Clearly, there’s something for each of the many generations of music lovers in the crowd!

The lively ensemble cast puts on a delightfully authentic portrayal of Bohemian ideals. Christian Douglas plays the part of naive lover boy Christian to a T, dominating the scene with his quirky charm in the “Shut up and Raise Your Glass” medley. Andrew Brewer is almost too charismatic for the role as the Duke of Monroth. His performance during “Only Girl in the World” comes off as too loveable for his malicious role. Nick Rashad Burroughs also excels as Toulouse-Lautrec, earning a standing ovation for his tear-jerking “Nature Boy” aria. Aside from being vocally impressive, his emotional delivery also crafts a touching ode to freedom.

But it is Gabrielle McClinton who steals the limelight as the glamorous starlet Satine. McClinton perfectly captures the part of the beautiful and ambitious burlesque coquette. Her timbre stays in character with the raspy belt of a diva during her solo to Katy Perry’s “Firework.” Even her shadow is exquisite during her sweeping entrance to “The Sparkling Diamond.” McClinton also offers a raw acting performance, particularly in portraying Satine’s relationship with Robert Petkoff’s Harold Zidler. Their relationship is touchingly familial as Zidler becomes somewhat of a father figure to Satine, despite his somewhat complicated hierarchical power as the owner of the Moulin Rouge. It is Petkoff’s intense delivery in introducing the warning story behind “El Tango de Roxanne” that allows him to sound fatherly and not patronizing.

“Moulin Rouge: The Musical” is a spectacle of grandeur, artistry, and the lively spirit of burlesque. From the flowing set design and variety of music hits to the lavish costumes and enthusiastic cast, the show has something for every musical lover. Like the “Spectacular Spectacular” show within the show declares, Broadway in Boston’s “Moulin Rouge: The Musical” is “so delighting it will run for fifty years.”

“Moulin Rouge: The Musical” runs until Feb. 4 at Citizens Bank Opera House.

—Staff writer Alisa S. Regassa can be reached at alisa.regassa@thecrimson.com.