While steeped in extravagance, ‘Moulin Rouge! The Musical’ still speaks with sincerity

By Claire Schneider | Arts Angle Vantage Reporter

Bullitt East High School, Class of 2025

In “Moulin Rouge! The Musical," the artists are tortured, the gentlemen cruel, and the dancers scantily clad.

Arianna Rosario (Satine) and Christian Douglas (Christian) in the North American Tour of “Moulin Rouge! The Musical.” Photo by Matthew Murphy and Evan Zimmerman. Courtesy PNC Broadway in Louisville.

The North American tour of "Moulin Rouge! The Musical” opened Feb. 28 and runs in Louisville through March 2 at the Kentucky Center for the Performing Arts’ Whitney Hall.

Based on the 2001 Baz Luhrmann film of the same name, it tells the love story of Christian, a Bohemian writer from Ohio, and Satine, a courtesan desperate to save the titular Parisian nightclub through mashups of iconic pop songs. Their relationship goes from that of strangers to a passionate tryst, hidden from Satine’s wealthy suitor, ending with the reveal of her tragic secret. The plot is framed by a set of red lacy hearts and the glowing Paris skyline, where the phrase “L’amour” floats. “Moulin Rouge!” revels in what it is: an extravagant yet sincere jukebox musical.

Luhrmann is known for his colorful and chaotic movie directing style, also having directed the films “Romeo + Juliet,” “The Great Gatsby,” and “Elvis.” Alex Timbers’ direction of the musical Moulin Rouge!” translates this style to the stage.

Justin Townsend’s lighting and Sonya Tayeh’s choreography often complement each other, emphasizing each movement. There is no better example of this than the “Backstage Romance” sequence, a high-energy mash-up of “Bad Romance,” “Seven Nation Army,” “Sweet Dreams (Are Made of This),” “Tainted Love” and “Toxic.” While the Moulin Rouge dancers rehearse, the lighting flickers as one song morphs to another and Christian and Satine carry out their affair. The Baz Luhrmann of it all is present in other ways — the gaudy costumes and the bright, glowing absinthe drank in Act 2.

The set mimics scenes of 19th-century Paris and, in some ways, breaks the fourth wall. At certain points, the Whitney Hall audience becomes the Moulin Rouge audience as the stage becomes that of the nightclub. Before the performance, a few dancers are already warming up on stage. Still, the set has no problem transforming into the dingy streets of Montmartre or Satine’s elephant-themed dressing room. One of the side characters, Henri de Toulouse-Lautrec, is based on the real artist. So, one of the final sets of the show pays homage to his art, which often included the real Moulin Rouge.

Christian Douglas (Christian) and Arianna Rosario (Satine) in the North American Tour of “Moulin Rouge! The Musical.” Photo by Matthew Murphy and Evan Zimmerman. Courtesy PNC Broadway in Louisville.

The cast of “Moulin Rouge! The Musical” transcends the film in a way a cast isn’t always able to do. Christian Douglas and Arianna Rosario play the leads, roles originated by Ewan McGregor and Nicole Kidman in the film. The role of Christian is relatively unchanged — Douglas carries over McGregor’s wide-eyed earnestness while delivering the most impressive vocals of the show during “El Tango de Roxanne.”

Satine’s motivations are given higher stakes. Rather than wishing to become an actress, she is the only thing standing between the Moulin Rouge and bankruptcy — which would leave her fellow dancers to the streets. Rosario carries Kidman’s cold charisma. During Satine’s moment of emotional vulnerability with the audience, she sings Katy Perry’s “Firework.” Here, the song morphs from one about which most don’t consider the lyrics to one, thanks to Rosario, that shows a woman desperately trying to keep it together.

Other cast members warrant mention. Andrew Brewer as Satine’s wealthy suitor, bares a cruelty that is clear from the onset. Robert Petkoff plays Harold Zidler, the Moulin Rouge’s eccentric owner. Christian forms a Bohemian trio with Toulouse-Lautrec and Santiago, played by Nick Rashad Burroughs and Danny Burgos. There are also the many dancers of the Moulin Rouge, including AK Naderer as the jealous but well-meaning Nini. Each actor makes their character their own, despite following in the footsteps of others.

The shameless use of pop songs in this musical certainly isn’t for everyone. “Chandelier” by Sia might feel out of place in the 19th-century story to some. When Christian sings a line from Rick Astley’s "Never Gonna Give You Up," the audience laughs. One might also find the plot contrived and undeniably melodramatic in its story of first and last love. But “Moulin Rouge! The Musical" knows exactly what it is. The artists are tortured, the gentlemen cruel, and the dancers scantily clad — and the show is perfectly OK with that. It’s unapologetic in its pop-music and melodrama, and there is something undeniably charming about that.

Claire Schneider (she/her), a Bullitt East High School senior, is editor-in-chief of Livewire, her high school’s news magazine. She was part of The Governor’s Scholar Program in 2024 and is a 2023 Governor’s School for the Arts alumni. She loves to be both onstage and backstage during her high school's theater productions. She hopes to stay involved with the arts for many years to come.