The bells and whistles of a Broadway musical don’t always travel west of the Hudson River. But “Moulin Rouge,” which picked up 10 Tonys in 2021 and is now at the Segerstrom Center, has brought a lot of them to town.
Easily the flashiest and crash-bang-iest of recent shows, this road production struts its stuff even before the opening curtain. Sometimes, secondary Tony awards are barely noticeable, but in “Moulin Rouge” it’s the choreography, costumes, lighting, sound and orchestration that power this sensory assault at its galvanizing.
Based on the 2001 Baz Luhrmann movie — not exactly a shrinking violet, either, with its frantic montage editing — this raucous evening ups the ante through sound and sight way more than story.
Music is a primary star here and a good place to begin.
Conor Ryan stars as Christian and Courtney Reed is Satine in the North American Tour of “Moulin Rouge! The Musical.” (Photo by Matthew Murphy for MurphyMade)
Less a jukebox musical, “Moulin Rouge” is more Spotify shuffle, with its pop hits processed through a musical Cuisinart. In the printed program, in extra small type, it takes three pages to list 75 song titles and credits. Each tune gets heard, occasionally as little as a single lyric line, and quite often to audible approval from the audience.
Perhaps the most compelling example of the staged medleys comes after intermission, a dazzling fever dream of dance slink built on Lady Gaga’s “Bad Romance,” thematically enhanced by song snippets from Britney Spears, Soft Cell, the White Stripes and Eurythmics.
Additional mash-ups course through the musical, but some of the songs act as full-length, showcase pieces. A newly arranged “Lady Marmalade,” the film’s signature number — heard even more prominently here — and Elton John’s “Your Song” — underpinning the main romance, carry the most weight.
Adéa Michelle Sessoms and Jennifer Wolfe appear in a scene from “Moulin Rouge! The Musical,” on stage at the Segerstrom Center for the Arts in Costa Mesa through Nov. 27. (Photo by Matthew Murphy for MurphyMade)
The other draws are the show’s visual allures. Just walking into the hall, taking you to Paris right away, are two huge props — a windmill that spins and a massive blue elephant figurine — frame the alluring, overly bright red and pink lighting of the show’s title.
It’s a welcoming tip to the spectacle to come.
The scenic design, while not as elaborate as in its New York, dolled-up incarnation in a more intimate space, has its charms. Note, for instance, during the second act another miniature windmill in the distance, its four blades turning.
“Moulin Rouge! The Musical” is on stage at the Segerstrom Center for the Arts in Costa Mesa through Nov. 27. (Photo by Matthew Murphy for Murphymade)
“Moulin Rouge’s” choreography and movement constantly focus your attention — plenty of ooh-la-la on display in a glittering, ever-changing array of costumes or the lack of them. Dance also pushes the story’s through lines, especially at show’s end. “Moulin Rouge” has a cast of 36 and the ensemble numbers are big takeaways.
As to the plot, well, there is one, not that it requires, or deserves, much attention. This is 1899 Paris and a love triangle plays out at the famed club of the title (glad to note the real Moulin Rouge cabaret survived the pandemic and is open on weekends with its famed floor show … and yes, the Can-Can can, and still does, get done-done there).
This storyline is pure backstage politics meets doomed amour, the eternal question of marrying for love or money, with period health challenges looming in the background. Source material for this comes from even earlier in the 19th century, whiffs of the operas “La Boheme” and “La Traviata” and the play “Camille” abound.
Conor Ryan stars as Christian and Courtney Reed is Satine in the North American Tour of “Moulin Rouge! The Musical.” (Photo by Matthew Murphy for MurphyMade)
The tale does provide some decent opportunities for actors/singers/hoofers and this production has appealing talent out front in the three dominant roles.
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The actors playing young Christian (Conor Ryan) and his potential lover Satine (Courtney Reed) have strong chemistry, so that’s more than half the battle won right there. We believe Ryan as hailing from Lima, Ohio, and his earnest, well sung vocals are warm and winning. Reed’s Satine, as the chanteuse choosing love or comfort, impactfully conveys the exhausted steeliness of someone running out of time and choices.
Next to the unnamed emcee in “Cabaret,” the role of Harold Zidler (Austin Durant) is easily the best nightclub front person in the Broadway canon. Durant’s revels in his manipulations, exuding cynicism and cheesiness in all the right proportions, even to the audience: “No matter your sin, you are welcome here.”
Katy Perry’s anthemic “Firework” is one of the tunes. Add an “s” to her hit and you’ve got this show in a nutshell.
‘Moulin Rouge’
Rating: 3 ½ stars (out of 4)
When: Through Nov. 27; 7:30 p.m. Tuesdays-Fridays, 2 and 7:30 p.m. Saturdays, 1 and 6:30 p.m., Sundays
Where: Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa
Tickets: $31-$189
Information: 949-556-2787; www.scfta.org