“A visually dazzling spectacle of kaleidoscopic colours, textures, shapes, and sizes. It’s too much sometimes, and I had to shut my eyes because I was in sensory overload and had to clear my thoughts. The challenge with fully appreciating this ‘Moulin Rouge’ is John Logan’s book.”

‘Moulin Rouge’ (English translation: red windmill) is one of the nightclub hotspots in the late 1890s, Paris. The exterior of the building is a windmill painted red with spinning turbines. When I first visited Paris in the mid-1990s for the first time, the ‘Moulin Rouge’ was still operational.

During a recent trip to New York City, I spoke with someone who had seen the Broadway production of "Moulin Rouge." This conversation prompted me to think more about the touring production at the CAA Ed Mirvish Theatre. Please note that I have not seen the New York production. This individual to whom I spoke in New York said there is an actual red windmill in the Broadway production. The stage is large and spills right into the audience. None of that exists here because the show is touring.

What conclusion did I finally arrive at about the touring production now playing in Toronto after a weekend in NYC?

This ‘Moulin Rouge’ resembles the red and white holiday candy prevalent this time of year. It is beautiful to look at and exquisite to enjoy, but the flavour doesn’t last very long.

It’s the late 19th century in Paris's bohemian, avant-garde Montmartre district. The opening musical number reminisces of ‘Cabaret,’ where the Emcee welcomes the audience to a seedy nightclub setting in Berlin. In both stories, people come for nightly entertainment, including music, drinks, songs, smoking, and the occasional imbibing in debaucheries.

‘Moulin Rouge’ introduces us to director Harold Zidler (Robert Petkoff), who breaks the fourth wall and speaks to the audience as if we were the audience that night in the late 1890s. We are reminded that the ‘Moulin Rouge’ is a place where all our dreams will come true (no matter what they are) and that we: ‘Can, Can, Can’. You’ll understand that reference when you see the show.

Young composer Christian (Christian Douglas) meets the nightclub’s regular guests, Toulouse Lautrec (Nick Rashad Burroughs) and Santiago (Danny Burgos). The latter two are in the process of writing a play with songs in it and would like to see it mounted in the nightclub. Christian has become smitten with the nightclub’s superstar, Satine (Arianna Rosario).

Zidler, however, has something else entirely in mind for Satine. He wants to introduce the superstar to the Duke of Monroth (Andrew Brewer), who might be a potential investor in the show created by Lautrec and Santiago to help save the club from closing for financial reasons. Monroth’s interest in Satine becomes deadly.

With music direction by Andrew Graham, many of the production’s well-recognized musical numbers are sung with a fiery passion. I especially liked Adele's 'Rolling in the Deep' and 'Your Song' (which appeared in the 2001 film.) The remix at the conclusion gives the audience one final opportunity to hear the music again. However, the sound balance between the orchestra and the performers needs tender, loving care. The orchestra is too loud. It overpowers. I knew the words to some of the songs but not all of them.

There are moments where I didn’t catch a thing. At the intermission, my guest turned to me and asked what was going on with the bass. Again, hopefully, sound designer Peter Hylenski can work this out.

Visually, some extravagant moments in lighting, costume designs, and choreography are noteworthy. For example, Justin Townsend’s extraordinary lighting design fluidly becomes sharp one moment while seamlessly blending into another shadowy effect moments later. Catherine Zuber’s skin-tight costume designs become fine reminders of the era, accentuating the various builds and frames of the sexy actors, singers, and dancers in the ensemble. I particularly noticed these clothing designs during the pre-show when the actors appeared on stage and began interacting with each other and the audience in the front row. Sonya Tayeh’s choreography is sleek and sharp.

Directed by Alex Timbers with a taste for the flamboyant in music and dance, Arianna Rosario is a sultry Satine. Christian Douglas is charming as young composer, Christian. Robert Petkoff’s opening number with the ensemble becomes veritable eye candy. I was trying to take in as much as I could. Andrew Brewer is a swarthy, lanky Duke who creates a couple of frightening moments with Satine.

The challenge with this touring production lies in John Logan's script. It provides a superficial take on the classic boy-meets-girl story. Significant gaps in the storyline make it easy to anticipate the plot twists as they approach.

Final Thoughts: I tried to sit through the film version of ‘Moulin Rouge’ when it first appeared at the local cinema. I walked out because I didn’t get the story. Regarding DVD, I thought I’d give it another chance. About fifteen minutes in, I turned it off because the story did not interest me at all. What was I supposed to glean from the film?

After thinking more about this, I realized that the film’s script just didn’t appeal to me.

Yes, the musical numbers caught my attention, but that’s not the only reason people should attend musical theatre. The music is an important part, agreed, along with the choreography and movement. However, if the story doesn’t appeal to me, no amount of singing or dancing will cut it.

The Mirvish show programme includes a reference to this ‘Moulin Rouge’ as a work of theatrical imagination.

There are moments where imagination and creativity exist in this touring production, no doubts at all.
I wish there was more of a believable story.

Approximate running time: 2 hours and 45 minutes with one interval/intermission.

MOULIN ROUGE runs until January 12, 2025, at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333.