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| re: Changes to Moulin Rouge. What did you notice? | |
| Posted by: student_rush 10:55 am EST 01/20/22 | |
| In reply to: Changes to Moulin Rouge. What did you notice? - PurpleMoney 08:41 am EST 01/20/22 | |
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| I saw the Wednesday matinee and have to push back about the "perfect" current cast. I don't know what Aaron Tveit is doing up there, but it certainly isn't acting - how is it possible that he has such a long career and that he is truly awful in this show? This fault extends to Alex Timbers and the entire creative team, because he is WOEFULLY miscast as the emotionally vulnerable, fish-out-of-water central POV of the evening. Yes, he can sing the score, but there are so many people who could do that while also trying to communicate some semblance of human emotion in the proceedings. That Tony Award* absolutely has to have an asterisk next to it for all time. What an embarrassment. Mendoza as 'Satine' is a minor improvement in the acting category (both on Tveit and Karen Olivo), but can't sing the score - she struggles to navigate the beltier moments (her stronger point) with the lighter, higher soprano classical range. The break in between is rough and almost always on display. We can't find a non-white woman who can sing and act this role? There is basically no real dancing required. Eric Anderson (in one of his first performances in the role) is delightful and - surprisingly? - almost doing a full Jim Broadbent impression from the film. Not that I mind ... this show needs as much of the film's energy as possible. With such poor leads, the structural weaknesses of the show are really on display. Certain moments of this show are pure cringe: a bad pop song that is no longer popular, shoehorned in (mostly without creativity, even though I think John Logan's book is serviceable), and performed with all the nuance of a Vegas tribute show. The staging of the simple love songs is so boring I wanted to doze off and wake back up afterwards. When will Broadway creatives actually push for honest, bold, sincere performances from their actors? Without grounded central performances, this is all commerce - a show that performs for the dumb public to gawk at while producers line their pockets and create eighteen productions around the globe. As for the initial post, there is nothing "shocking" in this show ... just enough "skin" to make you think there is a whiff of eroticism to the night's affairs, but it's just another circus show for families. |
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| re: Changes to Moulin Rouge. What did you notice? | |
| Posted by: PlayStu (playbilstu@aol.com) 06:33 pm EST 01/20/22 | |
| In reply to: re: Changes to Moulin Rouge. What did you notice? - student_rush 10:55 am EST 01/20/22 | |
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| I also attended the Wed mat and have to agree that I was disappointed with the lead cast. The songs started to feel like a jukebox revue of oldies. Cute for 5 minutes, then boring . Loved the scenery and glad I won the lucky seats lottery and only paid $34 | |
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| re: Changes to Moulin Rouge. What did you notice? | |
| Posted by: Live_From_London 06:13 pm EST 01/20/22 | |
| In reply to: re: Changes to Moulin Rouge. What did you notice? - student_rush 10:55 am EST 01/20/22 | |
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| The casting of the London production is awful as well. 'Christian' who is making his professional stage debut, having only played a Prince in Into The Woods whilst training, has no personality or acting skills and a bland, weak voice. Satine is also woefully mis-cast and can't bring any excitement to the role. How Liisi Lafontaine got cast as Deena in the original London cast, and now as Satine in the first London cast is beyond me. She isn't the best or most suited to either role, and say all you want, but why is it too much to ask for British Black female to get a lead, when there are so few available?? Some of the supporting cast are fantastic and sing and dance rings around the leads. | |
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| I saw Moulin Rouge yesterday and I have to agree | |
| Posted by: aleck 05:21 pm EST 01/20/22 | |
| In reply to: re: Changes to Moulin Rouge. What did you notice? - student_rush 10:55 am EST 01/20/22 | |
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| Taking advantage of lots of empty seats and ready availability of discount tickets at TKTS (and elsewhere), I caught Moulin Rouge yesterday evening from the second row, center of the front mezzanine. I don't get that Aaron Tveit. It was like he was sleepwalking through the performance -- although he cranked it up for his last big solo numbers. Except for those moments he looked bored and mechanical. The chemistry between the two leads was zero. The female lead, who has a great body, was so flat and boring I couldn't understand why the Tveit character was supposed to be so enamored of her (other than for her great body). I didn't believe for a minute that there was any type of attraction between the two that matched the dialog and song choices. Otherwise, was this production always so LOUD? Or have they turned up the volume and the reverb dial to make up for any type of human energy. Also, from the second row of the front mezzanine you couldn't see al that was happening on the runway that extended into the orchestra section. The people further up in the mezzanine (in areas that used to be called the balcony) must have seen even less. I don't see what the fuss is about this production other than the amazing set and costumes. It seemed kind of desperate to START the show with fireworks and confetti thrown into the audience. That's cheap stuff that is usually saved for the ending -- which is done here as well. The movie was way, way better, but, of course, we had the involved Ewen McGregor to add some believability. |
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| re: Changes to Moulin Rouge. What did you notice? | |
| Posted by: theaterdude 01:46 pm EST 01/20/22 | |
| In reply to: re: Changes to Moulin Rouge. What did you notice? - student_rush 10:55 am EST 01/20/22 | |
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| While I always appreciate someone who honestly shares their opinion, I couldn't disagree with you more. To start with, your comments about Aaron border on mean, and there's no reason for that. He's obviously a talented performer, I don't need to list his credits for you to see that he never stops working and he's had many, many glowing reviews. He's also a dedicated, reliable performer who is belting those songs every single performance unless he's ill. To call his performance an embarrassment is harsh. Is Aaron really your issue with Moulin Rouge, or is it Moulin Rouge?!! Sounds like you really disliked the show, and one by one you picked everything about it apart. Hey, no one is forcing you to love anything or anyone. This show is a huge Broadway extravaganza, it's not meant for theatre intellects looking for a night out. It's the perfect show for tourists and people across the country who want to go out and see something light with big sets, a love story, and a bunch of songs they know from the radio. They will love the costumes, sets, lights and big voices. It may sound cynical but that's maybe that's all that audience needs for their hard earned buck, It's not Shakespeare and it doesn't need to be, and for what it is, it is done very well. You can see every penny they spent on that stage. It's an entertainment. If what you're saying about Mendoza is true, that's upsetting, because whoever is in that role needs to be able to handle the vocals and I can't stand seeing someone who needs to rely on mixing when its the wrong sound. I think it's a fun show with something for everyone. It is what it is. |
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| re: Changes to Moulin Rouge. What did you notice? | |
| Last Edit: Delvino 08:47 pm EST 01/20/22 | |
| Posted by: Delvino 08:45 pm EST 01/20/22 | |
| In reply to: re: Changes to Moulin Rouge. What did you notice? - theaterdude 01:46 pm EST 01/20/22 | |
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| We're parsing posting lingo, but I didn't find the comments on Tveit mean-spirited. We all employ shorthand to express our responses. Tveit is a gifted performer, but a chilly one. Starting with Next to Normal, he has an intriguing gap between his powerful vocals and his almost palpable reserve. A coolness. It works in an eccentric way in some roles (Catch Me) and for many people, but I get why some others feel he's not connecting. I had this debate about him in the past here. | |
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| re: Changes to Moulin Rouge. What did you notice? | |
| Last Edit: WaymanWong 01:12 am EST 01/21/22 | |
| Posted by: WaymanWong 01:05 am EST 01/21/22 | |
| In reply to: re: Changes to Moulin Rouge. What did you notice? - Delvino 08:45 pm EST 01/20/22 | |
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| To me, Aaron Tveit has always been a charismatic and commanding performer with the voice of an angel. He pours his passion and power into every note, whether it's ''I'm Alive'' from ''Next to Normal,'' ''Goodbye'' from ''Catch Me If You Can'' or ''Roxanne'' from ''Moulin Rouge!'' He's a dedicated artist who rarely misses shows, and it's a testament to his talent and nearly 20-year career that he's constantly working onstage or on-screen. Even during the COVID shutdown on Broadway, which left so many out of work, Tveit was starring in a Christmas movie for Hallmark, shooting ''Schmigadoon!'' for Apple TV and appearing in ''American Horror Stories'' for Hulu. 2021 was a career year for him. It was capped off by winning a Tony for ''Moulin Rouge!'' in ''a role he was born to play'' and was ''his best Broadway work to date,'' according to Ben Brantley in the N.Y. Times. | |
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| re: Changes to Moulin Rouge. What did you notice? | |
| Posted by: aleck 09:37 am EST 01/21/22 | |
| In reply to: re: Changes to Moulin Rouge. What did you notice? - WaymanWong 01:05 am EST 01/21/22 | |
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| Ethel Merman famously ended up "walking through" many performances of Gypsy. Jerome Robbins used to try to get her to give full performance by going backstage before curtain and telling Merman that certain famous people were in the audience. And that would sometimes work. Merman herself admitted that when doing a performance she would often be thinking of something else -- like putting together a grocery list or what she needed at Macy's. You now have two reports of a less-than-attentive performance by Tveit on Wednesday. For me, it looked like he was on auto-pilot -- except for his performance of the final songs. It appeared that he was pulled along through drudgery. It was certainly drudgery to watch. | |
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| Don’t hold back on how you really feel. | |
| Posted by: dramedy 12:44 pm EST 01/20/22 | |
| In reply to: re: Changes to Moulin Rouge. What did you notice? - student_rush 10:55 am EST 01/20/22 | |
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| It’s enjoyable but I was surprised at the audience love for the show. At intermission, some patron said it was one of the best shows she’d ever seen to her friends. And she didn’t look like a novice to broadway—not that anyone can really tell from looks. I still think jagged little pill has a lot more going for it creating a work from a concept album instead of a movie. Definitely has more emotional impact and current topics. But MR is a spectacle and that probably is what is needed during covid even though I did see it Oct 2019. |
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| re: Don’t hold back on how you really feel. | |
| Posted by: Chromolume 01:22 am EST 01/21/22 | |
| In reply to: Don’t hold back on how you really feel. - dramedy 12:44 pm EST 01/20/22 | |
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| Seeing the show in Boston, I have to admit I got swept up in it and really enjoyed it. Though I did feel it overstayed its welcome, and could have been shorter. But the only part of the show that really didn't grab me in some way was the very very overlong (IMO) "megamix" ending - which I have to assume is still as is in the current version. It really could have been just one refrain of Lady Marmalade and adieu. But I assume the majority of the audience eats it up. Then again, I've really never been a fan of most "post show" production numbers, with the possible exception of the inspired craziness of Urinetown's final dance number. So, what do I know, lol. I do have to wonder if the show would hold up for me on a 2nd viewing - it truly might not. But I'm glad for the performance I saw. |
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