One of the first shows I saw following the final restrictions of the COVID-19 nation-wide lockdowns was Moulin Rouge! at the Piccadilly theatre, located a stone’s throw from the huge LED display in Piccadilly Circus. This new cast, and the complete feel of this show, reminded me of the thrill and excitement live theatre can brings. Firstly, I have to describe this show as being really well designed. In the foyer, you’re greeted by ensemble members (not quite Cabaret in its fully immersive theatrical element, mind you), but nevertheless it was exhilarating to be able to watch the prologue cast dance and welcome us as though we’re *actual guests* at the famous Parisian venue.
Those of you who haven’t seen the film Bad Luhrman-directed film (myself included), need to not worry! There’s still the iconic movie bop Lady Marmalade and you wouldn’t miss anything not having any prior knowledge of what Ewan McGregor Nicole Kidman did or didn’t sing. If anything, the new show includes brand-new hits from music legends including: Whitney Houston, Lady Gaga, Lorde and even The Rolling Stones!
It’s a really fun evening, and both the ensemble cast and leads are on superb form. A special mention to the leads Melissa James and Jamie Muscato as Satine and Christian respectively. Both of them were insanely believable, carried the show with their burning chemistry for one another as the storyline progresses in the city of Paris. The love they had for each other was really felt (by those around me dabbing at their tears), and the supporting ensemble were all also dazzling in their numbers. Harold Zidler (played originally by Clive Carter) was a hard act to follow, but Matt Rixon was able to how his own stamp on the iconic role. The sense of a really friendly, jovial atmosphere was immediate as one entered the auditorium. The Duke, played by Ben Richards, was cast perfectly as the saviour of the blighted venue when it comes to it being potentially closed down. The book didn’t allow much for the development of his emotion (he is at-most, pantomime villain) but in this high-energy frenzy, it was notably on par with the fellow co-stars.
The sets (designed by Derek McLane) did give the “WOW!” factor on many occasions: for example, the scenes in Satine’s private quarters i.e. The Elephant which is a highlight of the theatre’s interior, the “Backstage Romance” scene as well as the streets of Champs Elysees. I was staring at the props, lighting and the way the aerial features worked made this a bedazzled ticket on all measures. The costumes – designed by Catherine Zuber – were really also quite something to behold. The top hats, the Can-Can frocks and Satine’s opening number oozed sexiness and captivated the attention of audience members who were audibly responding to moments when asked to participate. Justin Townsend’s lightning design really was superb: the automated lights direct the viewers eye line towards particular moments, and in the ensemble it was elevated by the synchronicity of the ensemble. As mentioned, the shadows and silhouettes were really quite impressive and really made me feel immersed. There’s also the lighting in the auditorium, which lights up the thick velvety red curtains around the stunning Piccadilly Theatre.
If you fancy watching a show to get you on your feet, and filled with hits from all of your favourites – now that &Juliet has announced its March 2023 closure – the West End has a strong contender for a show that can replace its fans who enjoy contemporary pop hits and fill the void complete with velvety sparkles. Go see this, and despite its eye-watering prices they have a £25 lottery which I recommend you all enter – good luck!
** Full disclosure – this is a paid-for ticket / experience by the producers #Ad #AdvertisementFeature #PRInvite #GiftedTicket in exchange for an honest review from my night at the theatre **