JADAR

Baz Luhrmann’s Moulin Rouge!, the final part of his Red Curtain trilogy, is today considered one of the greatest movies ever made. At the very least, one can appreciate it as a groundbreaking film that revolutionised the medium. A spectacular movie musical, it was only a matter of time before it was adapted to the stage – and fortunately, this is a no-expenses-spared spectacle that does the source material justice.

Whilst the touring production does, unsurprisingly, not have all of the theatre dressing, lights, chandeliers and cabaret tables that the fixed productions have – which immediately transport audiences to the real Moulin Rouge – it still has the signature windmill and elephant in the boxes (which look wonderful in Manchester’s Palace Theatre), and audiences walk in to red lights and ambient music. It’s clear, right from the get-go, that this is going to be a sensual, sensuous feast for the eyes and ears.

The musical follows Christian, an American writer (in the film, he’s English), who travels to Paris to join the Bohemian revolution. He visits the city’s biggest night club, the titular Moulin Rouge, and falls in love with its star performer and courtesan, Satine. However, she has been promised by the manager and host, Harold Zidler, to a Duke in return for funding his next production (and saving the club). As the young lovers meet in secret, Satine’s wedding day draws closer but she hides a fatal secret from both Christian and the Duke.

The book, which is inspired by Puccini’s opera La bohème – which Luhrmann had directed a production of a few years prior to making Moulin Rouge! – is the weakest part of the production, and some of the character development could be better. John Logan does the best he can with the story. The script is very funny, complete with a few contemporary references, and proudly cheesy, as cabarets should be, though some jokes are borderline cringe.

But the production is not simply style over substance; it has heart – thanks, especially, to the charming cast – and it delves into various issues.

The musical, though still set in 1899 and 1990, is politically and thematically brought into the 21st century. The play-within-a-play is no longer a borderline racist Indian production, complete with an evil Maharaja. That said, Bohemianism was undeniably influenced by Orientalism (just look at that giant elephant), so it’s a shame to lose that acknowledgement and authenticity (not that Bohemianism portrayed the East authentically).

One of the core four showgirls, Baby Doll, is genderqueer – whilst this is not historically accurate for the Moulin Rouge (or indeed, the Moulin Rouge today, which remains quite rigid), it is certainly representative of cabaret today, which is inherently queer, not merely a strip show for straight men.

Whilst the musical does a good job of showing the exploitative nature of sex work, and the desperation of sex workers, it is strange to inject Satine with shame and self-disdain, when the movie portrayed her as proud and self-assured. Perhaps the creatives thought that the movie portrayal was unrealistic and harmful, for it did not adequately explore the exploitation. There is not necessarily a right answer; it’s nuanced and complex.

The film is arguably eclipsed in status and notability by its signature song, a cover of LaBelle’s ‘Lady Marmalade’, by Christina Aguilera, Lil’ Kim, Mýa, and Pink. When people think of the film, they often think of that song. Indeed, I only watched the film for the first time the night before the Manchester press night (I previously reviewed the London production), but I have always known (and loved) ‘Lady Marmalade’. Like in the film, the stage production opens with that song. It shows self-awareness, and respect for the fans, by opening with four scantily clad women, referencing the iconic music video, complete with one performer having a similar crimped hairstyle to Xtina in the video.

Directed by Alex Timbers, Moulin Rouge! is inarguably one of the most lavish productions one will ever see. Most stage musicals today do not have the budget to be particularly elaborate, but this no-expenses-spared production (which is reflected in the ticket prices) is everything a stage adaptation of the movie needed to be.

Derek McLane’s mind-blowing scenic designs are rivalled only by The Great Gatsby (now that is style over substance), and Justin Townsend’s lighting design is some of the best ever seen onstage.

In a show about showgirls, hair and make-up are very important; David Brian Brown and Sarah Cimino bring to life the heightened glamour of cabaret.

Catherine Zuber’s costumes are absolutely gorgeous. I got to see some of them upclose on the press day; the attention to detail in each piece is incredible. There is also excellent attention to detail thematically and semiotically, for instance, Satine wearing scarlet (scarlet letter?) amidst pale pink-wearing high society members, before being transformed.

As in the film, the stage show fuses together a few original songs with pop music, most of them in medleys, but it adds songs which have been released in the years since, making the score feel more fresh and relevant. We get everything from Beyoncé to Lady Gaga (the show knows its audience!). Some of the song choices work better than others. The songs don’t particularly feel shoehorned in, which is good, and some of them help further the story, or at least enhance emotions – but others feel a bit misplaced. But all of them are a lot of fun – and wonderfully performed by the sensational cast, led by the vivacious Verity Thompson as Satine, who is destined to become a huge name in British musical theatre.

I have twice seen Nate Landskroner cover the male lead in shows (Waitress and Bonnie & Clyde) so it was incredibly ironic that he was off as the male lead when I saw Moulin Rouge!, but Josh Rose was charming and wholesome as Christian.

The central trio is rounded off with Cameron Blakely as Harold Zidler, who I interviewed the following day. He is, indisputably, one of the most striking performers in musical theatre. He excels at playing camp, outrageous characters, such as Gomez Addams in The Addams Family. Blakely garners both sympathy and fury as the show’s most multifaceted character, who loves Satine but is prepared to exploit her for the good of himself and his club (but, by extension, Satine – who will be back on the streets if the club closes). It’s all quite morally dubious.

Kurt Kansley is hilarious and heart-warming as the passionate Toulouse-Lautrec, Rodrigo Negrini is completely captivating as the spicy Santiago, and James Bryers is perfectly cast as the deliciously devlish Duke (and deliciously handsome too!).

The core cast is completed by Kahlia Davis (Nini), Summer Priest (Arabia), Scott Sutcliffe (Baby Doll), Ellie Jane Grant (La Chocolat), and Dominic Booth (Pierre/Ensemble).

The show has one of the strongest casts – main, supporting and chorus – onstage right now. Every single member is a quadruple threat (they can sing, they can dance, they can act – and they’re all hotter than a Parisian summer).

Whilst the book and characters could be stronger, Moulin Rouge! cannot be dismissed as style over substance. It’s passionate, it has heart, it brings history to life whilst speaking to today, and it even delves into politics and philosophy. It’s one of the most mesmerising spectacles ever seen onstage – and undeniably better than the actual Moulin Rouge. Whilst the fixed productions in the West End and on Broadway are even more elaborate, we are blessed to get such a lavish show on tour. It’s possible to tour this expensive production because it is doing residencies at every venues – and, yes, charging a lot for tickets, but so are a lot of smaller shows. With this show, at least, you can see where you Euro is going. So, splash your cash – if you can can can!Moulin Rouge! cannot be dismissed as style over substance. It’s passionate, it has heart, it brings history to life whilst speaking to today, and it even delves into politics and philosophy. It’s one of the most mesmerising spectacles ever seen onstage – and undeniably better than the actual Moulin Rouge. Whilst the fixed productions in the West End and on Broadway are even more elaborate, we are blessed to get such a lavish show on tour. It’s possible to tour this expensive production because it is doing residencies at every venues – and, yes, charging a lot for tickets, but so are a lot of smaller shows. With this show, at least, you can see where you Euro is going. So, splash your cash – if you can can can!

Moulin Rouge! The Musicals runs at Palace Theatre Manchester until October 4 2025 and is currently touring the world (with some UK and European dates announced) until March 1 2026 – with more dates to be announced.

Photo: Matt Crockett