Spectacular! Spectacular! That old Familiar Show.

Welcome to Paris

Spectacular! Spectacular! Those familiar with Baz Luhrmann’s 2001 movie will know what that means. Those not familiar with it certainly understand the meaning of the word. It describes every aspect of the monster jukebox musical Moulin Rouge now playing at Shea’s.

A tale of the demimonde in Belle Epoque Paris at the end of the 19th Century, Moulin Rouge is an opulent, over-the-top, decadent and thoroughly engrossing evening of theater. From the scrumptious sets designed by Derek McLane, to the complex lighting by Justin Townsend, to the glittery sexy costumes by Catherine Zuber, and choreography by Sonya Tayeh, every aspect of the musical is at the top of its game.

A Monument to Stylish Excess

Harold Zidler, slippery entrepreneur and owner of the club, needs money and wants to get it from The Duke of Monroth, a wealthy dissolute hedonist who is curious about the diamond of the Moulin Rouge, a beautiful, but unknown to all, consumptive courtesan named Satine. Meanwhile, Christian, a naive young man from Ohio, arrives in Montmartre to seek his fortune and freedom as a composer. He meets Toulouse-Lautrec and an Argentinian named Santiago on the street. They become fast friends, and the three decide to write a musical, then present a song to Satine so she will star in it at the club. Satine mistakes Christian for the Duke and attempts to seduce him in her elegant dressing room, while he is just trying to sing a song for her and is confused by her attempt at seduction. Then they fall in love and it gets complicated.

The musical is a monument to stylish excess. The voluptuous dances are performed with great panache by the ensemble. Satine’s diamond studded everything is perfectly in keeping with the opulent red velvet heart-shaped set. Bright red curtains raise or fall revealing a new set, perhaps Satine’s elephant dressing room, or a dark street scene in Montmartre.

Act One is almost non-stop singing and dancing. Bits of popular songs come and go in a heartbeat, while others linger for a while. From Bizet’s Carmen to Broadway show tunes to Britney Spears and Lady Gaga, with countless genres in between. It is an unending celebration with hints of troubles to come. In Act Two, the morning after demands its due. Satine’s illness, the Duke’s and Zidler’s machinations, and Christian being forced to face reality create a more somber mood. The songs are more melancholy and the dances moodier.

Always a Delight

The cast is excellent to a person. Christian Douglas as, yes, Christrian, has just the right amount of naivete and a voice that soars to the rafters. Gabrielle McClinton as Satine presents a very different, more hardened and cynical courtesan than Nicole Kidman’s rather ethereal portrayal of her in the film. She almost seems too strong to succumb to consumption. Robert Petkoff’s Zidler is the quintessential showman who you just know has a lot more going on in his fevered brain than he lets on. Nick Rashad Burroughs as Toulouse-Lautrec expresses his heartfelt love and friendship for Satine, and his dedication to his philosophy of Truth, Beauty, Freedom and Love, while helping Christian navigate his new home.

There are no torn stockings or ragged costumes on the dancers in this show, as if the poverty rampant in the area could not penetrate the glitter and glamour of the club. But Satine’s diamonds are paste, and the frenzied partying of the patrons ultimately could not keep the reality of Montmartre’s mean streets from penetrating into the very heart of Moulin Rouge. But it is an exciting ride while it lasts.

Winner of 10 Tony awards, including Best Musical, this opulent and extravagant musical is a feast for the senses and a delight to see. And, of course, there’s the can-can.