Review: MOULIN ROUGE! THE MUSICAL at Broadway In Tucson

MOULIN ROUGE! THE MUSICAL at Broadway in Tucson casts a poignant spell over Centennial Hall this December 2-7. A transcendent spectacle, MOULIN ROUGE is a feast for the senses and will give audiences plenty to talk about. This is a jukebox musical with a book by John Logan. It is the story of Christian the composer who enters a forbidden relationship with Satine, who is the ingénue of the Moulin Rouge cabaret. This musical story is based on Baz Luhrmann's film and is set in Paris. MOULIN ROUGE won 10 Tony Awards including best musical in 2019.

The story, which unfolds at the turn of the century, takes several dark turns. MOULIN ROUGE is recommended for discerning audiences, particularly due to its mature subject matter. Sexuality plays an important role in the story. Questions are raised about the lengths people will go to in order to preserve their art and defend their love. Indeed, "love is a battlefield." When the affair between Christian and Satine begins to intensify, dangerous conflicts emerge that threaten both their safety and the future of the Moulin Rouge itself. The book is very strong, with an intense score of gorgeous pop medleys.

Luke Monday turns in a commanding performance as Christian. He is confident and vulnerable at the same time and shows great depth and character development. Monday owns the stage and had the audience in the palm of his hand, particularly during his "Come What May" duet. Vocally I was very impressed with Monday. He utilizes a solid vocal flip at the ends of phrases and achieves an excellent sound in both his belt and mixed voice. On the acting side, Monday was very convincing and sincere. I believed every word he said and wanted to see his character succeed. He really sells the character of Christian.

Arianna Rosario is the reason to see MOULIN ROUGE. Her velvet vocals, haunting performance, and sheer goodness shine through across the stage. It is a moment of pure magic when Rosario sits on the swing and sings to the audience, elevated high in the air. Her chemistry with Monday was perfect. You truly feel for her and the dilemma she is in. The responsibility of Satine to maintain the future of the Moulin Rouge through whatever means necessary clashes with the unexpected love affair with Christian, and Rosario convincingly portrays the inner conflict and tragedy that her character undergoes.

Andrew Brewer chews the scenery as the dastardly Duke of Monroth. This is a character we love to hate. As Satine's new employer upon buying up the Moulin Rouge, he rules over her and everyone in her company with an iron fist. Brewer plays the villainous Duke with bone-chilling precision. He is cold and calculating and wants to take what is his. As the layers peel back throughout the show and we see how dangerous the Duke truly is, Brewer becomes even more frightening in the best possible way. He is most intimidating when he is calm and quiet. There is nothing more terrifying than a calm and collected villain.

MOULIN ROUGE is a feast for the eyes and ears and is elevated by its technical elements. Ornate set pieces and endless detailed backdrops transport audiences to 1899 Paris. Scenic design by Derek McLane is one part cotton candy fantasy and one part structural marvel. The speed at which set pieces appear and disappear behind curtains is truly incredible. The costumes by Catherine Zuber must be mentioned. These visually stunning designs are the cherry on top that bring audiences to the time period. They are like something out of a dream. Lighting by Justin Townsend is otherworldly, sharp, and crisp. The strobe effects and intelligent lighting give the impression that viewers are at a concert, while the more intimate and quiet moments are bathed in cooler colors suitable for the action.

Direction by Alex Timbers brings the best performances from all of the actors. They always have a purpose onstage but never appear busy for no reason. Performers are engaged in the story and actively take part in its telling. The Ensemble was especially well-directed here. Music direction by Wendy Feaver and choreography by Sonya Tayeh elevate the production and further deepen the storytelling. At times the orchestra was louder than the actors, but the balance improved in Act II. I was blown away by the scale and scope of this ambitious project.