CAN THIS SHOW LIVE UP TO THE MOVIE?
YES, IT CAN CAN!
The 2001 film Moulin Rouge told its La Bohème-like story with tremendous use of cinematography and computer animation, pulling off an other-worldliness while also portraying turn-of-last-century France. Without those skills to fall back on, musical playwright John Logan had his hands full in conveying that feeling on stage with his book. Relying instead on brilliant costuming by Catherin Zuber, outstanding hair design by David Brian Brown, striking make-up by Sara Cimino, stimulating lighting by Justin Townsend, and especially choreographic perfection from Sonya Tayeh, Logan creates a stunning visual delight.
Jay Armstrong Johnson
Arianna Rosario
Moulin Rouge! The Musical explodes onto the stage with a riot of color, sound, and movement, plunging the audience into the bohemian underworld of 1899 Paris. At its center is Christian (Jay Armstrong Johnson), an earnest young writer who has arrived from England in search of inspiration and the youthful ideals of truth, beauty, freedom, and—above all—love. He soon befriends an unconventional duo − the eccentric artist Toulouse-Lautrec (Jahi Kearse) and the lively Santiago (Danny Burgos) — who bring him to the legendary Moulin Rouge nightclub.
Renee Marie Titus, Amara Berhan, Kaitlin Mesh and Rodney Thompson
Robert Petkoff and Company
There, Christian lays eyes on Satine (Arianna Rosario), the club’s glittering star performer, whose dazzling presence is a distraction from the reality that she comes from a place of ambition, survival, and doing what’s necessary to get by. Satine’s future success seems tied to the decisions of her friend Harold Zidler (Robert Petkoff), the club’s shrewd impresario, who is desperate to secure financial salvation. As such, he seeks investment from the powerful, wealthy, and possessive Duke of Monroth (Andrew Brewer), asking Satine to woo him for both of their benefits.
Robert Petkoff and Company
Jay Armstrong Johnson and Arianna Rosario
In a case of mistaken identity, Satine instead seduces Christian, but his reaction (since he is not the strong-willed duke) confuses her and the two quickly find genuine love. This sets the pair on a collision course neither expected, as Zidler still expects her to entice the real Duke. Zidler works to balance the club’s survival against the personal desires of those around him, while the Duke makes it clear he intends to claim whatever — and whomever — he desires.
Kaitlin Mesh and Danny Burgos
Andrew Brewer as The Duke of Monroth
The plot aside (and it practically is aside because it’s so predicable every step of the way), much of the fun is the jukebox musical format. Logan draws from over seventy pop songs to create all of the signing in the show. I might guess 100-200, but it’s difficult to say when some songs, like “Don’t You Want Me Baby” were used for about two lines and then moved past. Some are carryovers from the movie, like Nat “King” Cole’s evocative “Nature Boy” and a lovely, more intimate version of Elton John’s “Your Song,” but many others are much more recent than 2001. Logan clearly likes Katie Perry and Lady Gaga songs, providing a fantastic tango reworking of Gaga’s “Bad Romance.” Overall, the mash-up nature of the show works really well.
Jay Armstrong Johnson and Arianna Rosario and Company
Arianna Rosario and Company
As with most jukebox musicals, you’ll need to overlook a few lyrical mismatches—there’s no actual “Roxanne” in the plot, for instance. But unlike Mamma Mia!, where full songs are shoehorned in regardless of context, Logan mostly pulls selective lines that actually serve the story, making the integration smoother and more intentional.
The Company
Jay Armstrong Johnson and Arianna Rosario
The leads are all excellent singers and, yes, the intricate musical mash-ups are a lot of fun, but the real star of this show is the ensemble’s brilliant execution of Tayeh’s complex and extremely-varied choreography. Tayeh went from industry fame to nationwide stardom as, arguably, the most coveted choreographer on So You Think You Can Dance. Known primarily for her sharp jazz and freestyle routines, here she lets loose with exquisite can cans, seductive Argentinian tangos, and much more – all of it delicious. Credit, as well, Dance Arrangers Justin Levin and Matt Stine.
The Company
Jahi Kearse, Jay Armstrong Johnson, Danny Burgos and the Company
Too many accolades? Ah, well, cause I gotta say Derek McLane’s scenic design is a tour de force. From the opening set that had attendees taking pictures immediately to having Satine arrive on a giant diamond (to “Diamonds Are Forever” of course), the creativity in set work was fantastic. Then there’s Justin Townsend’s lighting: fabulous! Two notable moment include a simple spotlight on Christian at one point that pulls at the heart and a use of strobe that caught dancers in intricate moments as if frozen by a camera. The only complaint, and it’s a big one: Get rid of the red spotlights that scan the audience before the show and during intermission; being blinded every 10-15 seconds for 30 minutes before the show was not worth the effect it created.
Jay Armstrong Johnson and Arianna Rosario
Arianna Rosario, Jay Armstrong Johnson and the Company
Please don’t come for the plot; it’s certainly there, but it’s mostly a vehicle for fun musicality, glorious visual stimulation, and superb dancing. If that’s not enough for you, well, I’m sure there’s something by Ibsen or Ionesco playing around town somewhere, but for the rest of us, Moulin Rouge! is enough of a feast.
photos of the 2025 Touring Company by Matthew Murphy and Evan Zimmerman for MurphyMade
Moulin Rouge!
2025 national tour
Broadway San Diego at the San Diego Civic Theatre
1100 Third Avenue
Mon-Wed at 7; Thu at 7:30; Fri. at 8; Sat and 2 & 8; Sun at 1 & 6:30
ends on July 6, 2025 in San Diego
for tickets (beginning at $44), call 619.564.3000 or visit BroadwaySD
tour continues; for dates and cities, visit Moulin Rouge Musical
