No matter where fate propels Oliver Twist—from the workhouse to the funeral home to the hideout of a master pickpocket—the orphan maintains a fierce sense of who he is, plus a willingness to stand up for himself and, yes, even ask for more in his pursuit of a loving home. And Benjamin Pajak, the actor who plays him, is on a similarly dogged quest: a nearly one-kid glorious mission to rescue the New York City Center’s lumpy revival of Lionel Bart’s 1960 musical adaptation of Charles Dickens’s classic novel Oliver Twist.
If it felt like hyperbole to praise the 10-year-old playing Winthrop Paroo in the revival of The Music Man as the most electrifying performer on stage, there’s no need to pull punches now that he’s taken on a title role. Indeed, Pajak, now 12 years old, is a marvel in Oliver! For one, his...
If it felt like hyperbole to praise the 10-year-old playing Winthrop Paroo in the revival of The Music Man as the most electrifying performer on stage, there’s no need to pull punches now that he’s taken on a title role. Indeed, Pajak, now 12 years old, is a marvel in Oliver! For one, his...
- 5/6/2023
- by Dan Rubins
- Slant Magazine
Natalie Mendoza, a star of the BBC One drama series Hotel Babylon and The Descent horror film franchise, has been cast in the lead role of Broadway’s Moulin Rouge! The Musical, filling the vacancy left when the Tony-nominated Karen Olivo resigned in April over what she perceived as industry silence regarding the workplace harassment and abuse claims levied against theater producer Scott Rudin.
(Rudin had no involvement in Moulin Rouge!)
With the casting of Mendoza, announced today by producers Carmen Pavlovic and Bill Damaschke, the full Moulin Rouge! cast is in place for the resumption of performances on Friday, September 24, at the Al Hirschfeld Theatre. The musical originally opened on July 25, 2019, but performances were suspended in March 2020 when Broadway went dark due to the Covid pandemic shutdown.
Mendoza joins a principal cast that also includes Aaron Tveit, Danny Burstein, Sahr Ngaujah, Tam Mutu, Ricky Rojas and Robyn Hurder.
The...
(Rudin had no involvement in Moulin Rouge!)
With the casting of Mendoza, announced today by producers Carmen Pavlovic and Bill Damaschke, the full Moulin Rouge! cast is in place for the resumption of performances on Friday, September 24, at the Al Hirschfeld Theatre. The musical originally opened on July 25, 2019, but performances were suspended in March 2020 when Broadway went dark due to the Covid pandemic shutdown.
Mendoza joins a principal cast that also includes Aaron Tveit, Danny Burstein, Sahr Ngaujah, Tam Mutu, Ricky Rojas and Robyn Hurder.
The...
- 8/2/2021
- by Greg Evans
- Deadline Film + TV
Multiple Tony nominee Moulin Rouge! The Musical will resume Broadway performances on Friday, September 24 at the Al Hirschfeld Theatre, producers announced today, but the successor to former (and Tony-nominated) lead actress Karen Olivo, who left the role in protest of Broadway’s silence over Scott Rudin, was not revealed.
Back on stage will be Aaron Tveit, Danny Burstein, Sahr Ngaujah, Robyn Hurder, Tam Mutu and Ricky Rojas. Ashley Loren has been cast at the alternate Satine (a position she held at the time of the shutdown). Additional casting, including the role of Satine, will be confirmed at a later date.
Produces also announced that Moulin Rouge! will honor New York’s Frontline Workers at a special dress rehearsal on September 23.
“Moulin Rouge! The Musical is a story about artists fighting to keep...
Back on stage will be Aaron Tveit, Danny Burstein, Sahr Ngaujah, Robyn Hurder, Tam Mutu and Ricky Rojas. Ashley Loren has been cast at the alternate Satine (a position she held at the time of the shutdown). Additional casting, including the role of Satine, will be confirmed at a later date.
Produces also announced that Moulin Rouge! will honor New York’s Frontline Workers at a special dress rehearsal on September 23.
“Moulin Rouge! The Musical is a story about artists fighting to keep...
- 5/13/2021
- by Greg Evans
- Deadline Film + TV
If you’re confused as to who is actually able to compete for the newly announced virtual Tony Awards this fall, you’re not alone. The Tony Awards Administration Committee announced a new cut off date of February 19, 2020. That means that the 2019-2020 Broadway season was cut incredibly short.
Musical races are most heavily affected by the shortened season. “West Side Story” will have to wait until next year to compete as it opened after the February 19th eligibility cutoff date. Other scheduled revivals of “Caroline, or Change” and “Company” were postponed due to the Broadway shutdown. As such there will be no Revival of a Musical category this year. Other categories, like Best Musical and Director of a Musical, will likely see their number of nominees reduced to three due to a limited number of contenders.
Luckily, there are plenty of plays in contention since many of these non-musical outings premiere in the fall.
Musical races are most heavily affected by the shortened season. “West Side Story” will have to wait until next year to compete as it opened after the February 19th eligibility cutoff date. Other scheduled revivals of “Caroline, or Change” and “Company” were postponed due to the Broadway shutdown. As such there will be no Revival of a Musical category this year. Other categories, like Best Musical and Director of a Musical, will likely see their number of nominees reduced to three due to a limited number of contenders.
Luckily, there are plenty of plays in contention since many of these non-musical outings premiere in the fall.
- 8/29/2020
- by Sam Eckmann
- Gold Derby
Like Baz Luhrmann’s groundbreaking 2001 romantic-tragedy movie before it, Moulin Rouge! The Musical is a poptastic spectacle with a grab bag of famous pop songs.
For the stage production, music supervisor, arranger, and orchestrator Justin Levine expanded its sonic landscape, using more than 70 pop songs (credited to 161 writers) in the construction of the score, which includes Karen Olivo singing Katy Perry’s “Firework” and Aaron Tveit singing “Roxanne,” by the Police.
The album has been nominated for a Grammy for Best Musical Theater Album and, with no composers on the show,...
For the stage production, music supervisor, arranger, and orchestrator Justin Levine expanded its sonic landscape, using more than 70 pop songs (credited to 161 writers) in the construction of the score, which includes Karen Olivo singing Katy Perry’s “Firework” and Aaron Tveit singing “Roxanne,” by the Police.
The album has been nominated for a Grammy for Best Musical Theater Album and, with no composers on the show,...
- 12/20/2019
- by Jerry Portwood
- Rollingstone.com
This year’s Grammy nominees for Best Musical Theater Album are “Ain’t Too Proud,” “Hadestown,” “Moulin Rouge!,” “The Music of Harry Potter and the Cursed Child — In Four Contemporary Suites” and “Oklahoma!” Six of the last 10 winners in this category matched up with the Tony Award for Best Musical. So does this bode well for the 2019 Tonys champ, “Hadestown”?
In the musical, songwriter Orpheus and his muse Eurydice fall in love during the warmth of summertime. But as winter approaches, reality sets in: these young dreamers can’t survive on songs alone. Tempted by the promise of plenty, Eurydice is lured to the depths of industrial Hadestown. On a quest to save her, Orpheus journeys to the underworld where their trust is put to a final test.
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The nominated principal soloists on the recording are Reeve Carney, André De Shields,...
In the musical, songwriter Orpheus and his muse Eurydice fall in love during the warmth of summertime. But as winter approaches, reality sets in: these young dreamers can’t survive on songs alone. Tempted by the promise of plenty, Eurydice is lured to the depths of industrial Hadestown. On a quest to save her, Orpheus journeys to the underworld where their trust is put to a final test.
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The nominated principal soloists on the recording are Reeve Carney, André De Shields,...
- 12/8/2019
- by Jeffrey Kare
- Gold Derby
The Grammys took a fairly expansive sweep with this morning’s nominations for Best Musical Theater Album, The Motown sound, Rodgers & Hammerstein, the folk-rock music of Anaïs Mitchell, the reworked radio hits of Moulin Rouge! and Imogen Heap’s Harry Potter musical suites were all represented.
But four of the five nominations did not include composers, since the music was not original to the cast albums. In the case of several, the musical numbers consist largely of oldies, some reworked for contemporary settings. Anaïs Mitchell’s previous concept album for Hadestown was already Grammy-nominated upon its release in 2010.
The nominees:
Ain’t Too Proud: The Life And Times Of The Temptations is a rousing recreation of the Motown sound, focusing largely, but not exclusively, on the title group’s hits. Nominated were original cast members Saint Aubyn, Derrick Baskin, James Harkness, Jawan M. Jackson, Jeremy Pope and Ephraim Sykes and...
But four of the five nominations did not include composers, since the music was not original to the cast albums. In the case of several, the musical numbers consist largely of oldies, some reworked for contemporary settings. Anaïs Mitchell’s previous concept album for Hadestown was already Grammy-nominated upon its release in 2010.
The nominees:
Ain’t Too Proud: The Life And Times Of The Temptations is a rousing recreation of the Motown sound, focusing largely, but not exclusively, on the title group’s hits. Nominated were original cast members Saint Aubyn, Derrick Baskin, James Harkness, Jawan M. Jackson, Jeremy Pope and Ephraim Sykes and...
- 11/20/2019
- by Greg Evans
- Deadline Film + TV
Moulin Rouge! the Musical: 3/5 Stars
There was a show. A very strange, enchanted show.
Entering the red light-coated Al Hirschfeld Theatre, with the stage flanked on either side with a giant red windmill and a large elephant’s head, you’re immediately asked to immerse yourself in the dreamlike, fantastical world of Baz Luhrmann’s 2001 romantic tragedy Moulin Rouge! As its musical adaptation blazes forth with a whiplash-inducing 70 songs, flashy can-can dancers and bohemian ideals, the fantasy is forced to be grounded in reality and loses some of the film...
There was a show. A very strange, enchanted show.
Entering the red light-coated Al Hirschfeld Theatre, with the stage flanked on either side with a giant red windmill and a large elephant’s head, you’re immediately asked to immerse yourself in the dreamlike, fantastical world of Baz Luhrmann’s 2001 romantic tragedy Moulin Rouge! As its musical adaptation blazes forth with a whiplash-inducing 70 songs, flashy can-can dancers and bohemian ideals, the fantasy is forced to be grounded in reality and loses some of the film...
- 7/26/2019
- by Brittany Spanos
- Rollingstone.com
Even the most wholly original works of art can, in the service of story or character or heart, summon the stray memory, the whispery chill of déjà vu. They’ll switch on the bittersweet recall of better times or drip-drop echoey little splashes of the worst. Most, though, remember to turn the damn spigot off.
Watching Broadway’s truly lovely-looking, golden-oldie-stuffed Moulin Rouge! The Musical, opening tonight, I was reminded time and time (and time) again not only of life’s circumstances when this or that hit song first caught our shared attention, but of Moulin‘s spiritual predecessor. I thought of Baz Luhrmann’s 2001 movie, too, but the predecessor that never escaped my mind was Name That Tune, the old game show in which contestants vied to be the first to recognize a song in as few notes as possible.
Directed by Alex Timbers, whose stage credits include the transcendent and the okay (Beetlejuice), Moulin Rouge! both adheres to, and expands upon, Luhrmann’s dazzling, hyper-stylish film starring Ewan McGregor and Nicole Kidman. The plot and setting are the same: We’re in fin-de-siècle Paris (1899 and Montmartre to be exact), inside the legendary nightclub of the title.
Actually, legendary might be a tad premature – a mere 10 years into its extant existence, the tales of debauched, defiant Bohemians of many and varied stripes are just taking root. The club is hot hot hot, but broke.
Not that you’d know by looking at it. In the miracle-working hands of scenic designer Derek McLane, Broadway’s Al Hirschfeld Theatre is transformed into a red velvet heart-shaped fever dream, a gloriously naughty, gender-mucked Valentine from a last-gasp Victorian Era. Costume designer Catherine Zuber matches the mood with the sort of flashy divine decadence undergarments-as-outer that we’ve come to expect after so many Cabaret revivals, but few will begrudge the familiarity. Dazzle is dazzle, never more so than when Sonya Tayeh is choreographing with a kitchen sink approach that encompasses can-can, Fosse and Single Ladies.
We’ll take it on faith that this nightclub has to sell itself to a devilish Duke.
At least, that’s the plan dreamed up by Harold (a couldn’t be better Danny Burstein), the leering emcee of this cabaret, er, nightclub who conspires with his star performer/courtesan and longtime from-the-streets pal Satine (Karen Olivio) to give the rich and vicious-by-reputation Duke of Monroth (Tam Mutu) whatever he wants, and whenever he wants it.
The complication is Christian – sometimes the show is just that literal – a naive young and very poor composer from Ohio (where else? what else?) who has come for a slice of La Vie Boheme and finds it straight off. He meets artist Toulouse-Lautrec (Sahr Ngaujah) and Argentinian gigolo Santiago (Ricky Rojas) and, through them, the Moulin Rouge and Satine.
There’s a mix-up/meet-cute involving the Duke, Christian (Aaron Tveit) and Satine, but identities are sorted soon enough, and before you can say “my dad has a barn” the gang is planning a new musical that will save the club, revolutionize the art form, provide Christian with the recognition he deserves and make a star of Satine.
At least, that’s how it should go. But the Duke’s wallet comes with a string attached to Satine, who now must dump Christian lest he wind up face down in the Seine. Oh, and Satine only has a week or so to live, her countdown tick-tocked by the size of the rouge splotch on her white hanky.
Plotwise, that’s pretty much it. John Logan’s book adds no big (or small) surprises and little emotion – what genuine feeling graces Moulin Rouge comes via the likes of Elton John and Bernie Taupin, when a “Your Song” pushes the exact button intended. Both Tveit and Olivo are wonderful singers and fine actors, but neither can bring much depth to these stock stage musical characters.
Olivo makes a better go of it, partly because Timbers and Logan have given her a rawer Satine than Luhrmann gave Kidman. This survivor is no porcelain doll, and if her backstory of child prostitution and sisterhood of the streets seems a bit tacked on, well, a character needs notes to hit just as much as any singer does.
Still, even the best of these character flourishes begin to feel like also-ran ideas running to catch up with what must have been the founding concept for this adaptation: the cover songs. The term “jukebox musical” is often one of disparagement, but rarely has it felt more appropriate. What seemed like a clever little motif in the film – having late 19th Century bohos strutting to “Lady Marmalade” or jamming to T. Rex – here becomes the raison d’être. The movie’s original soundtrack lists 17 songs, nearly all cover versions of hits, and though a few numbers in the movie were left off the record, even the second volume couldn’t combine to match the 70 (!) songs of the stage version.
Granted, most of those are more snippet than song, which is either good or bad, I suppose, depending on whether your era of choice got much snipping. While the movie leaned, aurally at least, on ’70s nostalgia, the stage production updates with Lady Gaga, Katy Perry, OutKast, Britney Spears, Beyonce, the White Stripes, Florence and the Machine, Seal, Adele, Sia and whoever sang “Shut Up + Dance.”
Good, catchy songs, no disputing that, whether you favor “Bad Romance” or “What’s Love Got To Do With It,” “Chandelier” or “The Sound of Music.” And certainly the track listing itself can be fun in a guess-what’s-next, parlor-game sort of way, at least initially. Wears thin fast, though, certainly by the time we get to the end of the overlong first act where we’re met with what’s been called the “Elephant Love Medley” since the movie.
Performed by Satine and Christian in her elephant-shaped dressing room, the medley strings together what begins to feel like every love song ever written. Here’s the list, courtesy of Playbill: “All You Need is Love/Love is Just a Game/I Was Made for Loving You/Just One Night/Pride (In the Name of Love)/Can’t Help Falling In Love/Don’t You Want Me/Don’t Speak/I Love You Always Forever/It Ain’t Me Babe/Love Hurts/Love is a Battlefield/Play the Game/Such Great Heights/Torn/Take On Me/Fidelity/What’s Love Got To Do with It/Everlasting Love/Up Where We Belong/Heroes/I Will Always Love You).”
The something-for-everyone approach has its advantages – not least a steady stream of applause and recognition chuckles that make Moulin Rouge! feel like one of the liveliest shows on Broadway. With box office soaring), this reportedly $28 million enterprise will swat away any stray critical brickbats like so many gnats.
But I don’t think I’ll be the only one leaning more toward grimace than grin. There’s another bit of nostalgia detritus that drifted across my mind during
“Elephant Love Medley,” and if you can’t manage my recommended Hadestown or Tootsie to see musicals with genuine heart, take another route and search YouTube for the Cher and David Bowie duet from 1975’s The Cher Show. It’s a classic of its type called “Young Americans Medley,” featuring the two icons (one coked to his different-colored eyeballs) performing a musical daisy-chain. “Song sung blue/everybody knows one/Is the loneliest number…” You can fast-forward when you’ve had enough.
Watching Broadway’s truly lovely-looking, golden-oldie-stuffed Moulin Rouge! The Musical, opening tonight, I was reminded time and time (and time) again not only of life’s circumstances when this or that hit song first caught our shared attention, but of Moulin‘s spiritual predecessor. I thought of Baz Luhrmann’s 2001 movie, too, but the predecessor that never escaped my mind was Name That Tune, the old game show in which contestants vied to be the first to recognize a song in as few notes as possible.
Directed by Alex Timbers, whose stage credits include the transcendent and the okay (Beetlejuice), Moulin Rouge! both adheres to, and expands upon, Luhrmann’s dazzling, hyper-stylish film starring Ewan McGregor and Nicole Kidman. The plot and setting are the same: We’re in fin-de-siècle Paris (1899 and Montmartre to be exact), inside the legendary nightclub of the title.
Actually, legendary might be a tad premature – a mere 10 years into its extant existence, the tales of debauched, defiant Bohemians of many and varied stripes are just taking root. The club is hot hot hot, but broke.
Not that you’d know by looking at it. In the miracle-working hands of scenic designer Derek McLane, Broadway’s Al Hirschfeld Theatre is transformed into a red velvet heart-shaped fever dream, a gloriously naughty, gender-mucked Valentine from a last-gasp Victorian Era. Costume designer Catherine Zuber matches the mood with the sort of flashy divine decadence undergarments-as-outer that we’ve come to expect after so many Cabaret revivals, but few will begrudge the familiarity. Dazzle is dazzle, never more so than when Sonya Tayeh is choreographing with a kitchen sink approach that encompasses can-can, Fosse and Single Ladies.
We’ll take it on faith that this nightclub has to sell itself to a devilish Duke.
At least, that’s the plan dreamed up by Harold (a couldn’t be better Danny Burstein), the leering emcee of this cabaret, er, nightclub who conspires with his star performer/courtesan and longtime from-the-streets pal Satine (Karen Olivio) to give the rich and vicious-by-reputation Duke of Monroth (Tam Mutu) whatever he wants, and whenever he wants it.
The complication is Christian – sometimes the show is just that literal – a naive young and very poor composer from Ohio (where else? what else?) who has come for a slice of La Vie Boheme and finds it straight off. He meets artist Toulouse-Lautrec (Sahr Ngaujah) and Argentinian gigolo Santiago (Ricky Rojas) and, through them, the Moulin Rouge and Satine.
There’s a mix-up/meet-cute involving the Duke, Christian (Aaron Tveit) and Satine, but identities are sorted soon enough, and before you can say “my dad has a barn” the gang is planning a new musical that will save the club, revolutionize the art form, provide Christian with the recognition he deserves and make a star of Satine.
At least, that’s how it should go. But the Duke’s wallet comes with a string attached to Satine, who now must dump Christian lest he wind up face down in the Seine. Oh, and Satine only has a week or so to live, her countdown tick-tocked by the size of the rouge splotch on her white hanky.
Plotwise, that’s pretty much it. John Logan’s book adds no big (or small) surprises and little emotion – what genuine feeling graces Moulin Rouge comes via the likes of Elton John and Bernie Taupin, when a “Your Song” pushes the exact button intended. Both Tveit and Olivo are wonderful singers and fine actors, but neither can bring much depth to these stock stage musical characters.
Olivo makes a better go of it, partly because Timbers and Logan have given her a rawer Satine than Luhrmann gave Kidman. This survivor is no porcelain doll, and if her backstory of child prostitution and sisterhood of the streets seems a bit tacked on, well, a character needs notes to hit just as much as any singer does.
Still, even the best of these character flourishes begin to feel like also-ran ideas running to catch up with what must have been the founding concept for this adaptation: the cover songs. The term “jukebox musical” is often one of disparagement, but rarely has it felt more appropriate. What seemed like a clever little motif in the film – having late 19th Century bohos strutting to “Lady Marmalade” or jamming to T. Rex – here becomes the raison d’être. The movie’s original soundtrack lists 17 songs, nearly all cover versions of hits, and though a few numbers in the movie were left off the record, even the second volume couldn’t combine to match the 70 (!) songs of the stage version.
Granted, most of those are more snippet than song, which is either good or bad, I suppose, depending on whether your era of choice got much snipping. While the movie leaned, aurally at least, on ’70s nostalgia, the stage production updates with Lady Gaga, Katy Perry, OutKast, Britney Spears, Beyonce, the White Stripes, Florence and the Machine, Seal, Adele, Sia and whoever sang “Shut Up + Dance.”
Good, catchy songs, no disputing that, whether you favor “Bad Romance” or “What’s Love Got To Do With It,” “Chandelier” or “The Sound of Music.” And certainly the track listing itself can be fun in a guess-what’s-next, parlor-game sort of way, at least initially. Wears thin fast, though, certainly by the time we get to the end of the overlong first act where we’re met with what’s been called the “Elephant Love Medley” since the movie.
Performed by Satine and Christian in her elephant-shaped dressing room, the medley strings together what begins to feel like every love song ever written. Here’s the list, courtesy of Playbill: “All You Need is Love/Love is Just a Game/I Was Made for Loving You/Just One Night/Pride (In the Name of Love)/Can’t Help Falling In Love/Don’t You Want Me/Don’t Speak/I Love You Always Forever/It Ain’t Me Babe/Love Hurts/Love is a Battlefield/Play the Game/Such Great Heights/Torn/Take On Me/Fidelity/What’s Love Got To Do with It/Everlasting Love/Up Where We Belong/Heroes/I Will Always Love You).”
The something-for-everyone approach has its advantages – not least a steady stream of applause and recognition chuckles that make Moulin Rouge! feel like one of the liveliest shows on Broadway. With box office soaring), this reportedly $28 million enterprise will swat away any stray critical brickbats like so many gnats.
But I don’t think I’ll be the only one leaning more toward grimace than grin. There’s another bit of nostalgia detritus that drifted across my mind during
“Elephant Love Medley,” and if you can’t manage my recommended Hadestown or Tootsie to see musicals with genuine heart, take another route and search YouTube for the Cher and David Bowie duet from 1975’s The Cher Show. It’s a classic of its type called “Young Americans Medley,” featuring the two icons (one coked to his different-colored eyeballs) performing a musical daisy-chain. “Song sung blue/everybody knows one/Is the loneliest number…” You can fast-forward when you’ve had enough.
- 7/26/2019
- by Greg Evans
- Deadline Film + TV
The stage production of Baz Luhrmann’s “Moulin Rouge!” that opened in Boston this summer is heading to Broadway.
Producer Carmen Pavlovic announced Monday that the musical will open on Broadway at the Al Hirschfeld Theatre, with previews beginning June 28, 2019 prior to a July 25 opening night.
The cast from the show at Boston’s Emerson Colonial Theatre will transfer to Broadway, including Karen Olivo, Aaron Tveit, Danny Burstein, Sahr Ngaujah, Tam Mutu, Ricky Rojas and Robyn Hurder.
Also Read: 'Moulin Rouge!': Watch Aaron Tveit Channel Ewan McGregor in Broadway-Bound Musical (Video)
“We are thrilled to be bringing ‘Moulin Rouge! The Musical’ to Broadway,” said producer Carmen Pavlovic in a statement. “We are especially delighted that the show is going to the Hirschfeld – the perfect theater for this production with its lavish architecture and rich history of landmark Broadway shows.”
Based on the Oscar-nominated 2001 film of the same name...
Producer Carmen Pavlovic announced Monday that the musical will open on Broadway at the Al Hirschfeld Theatre, with previews beginning June 28, 2019 prior to a July 25 opening night.
The cast from the show at Boston’s Emerson Colonial Theatre will transfer to Broadway, including Karen Olivo, Aaron Tveit, Danny Burstein, Sahr Ngaujah, Tam Mutu, Ricky Rojas and Robyn Hurder.
Also Read: 'Moulin Rouge!': Watch Aaron Tveit Channel Ewan McGregor in Broadway-Bound Musical (Video)
“We are thrilled to be bringing ‘Moulin Rouge! The Musical’ to Broadway,” said producer Carmen Pavlovic in a statement. “We are especially delighted that the show is going to the Hirschfeld – the perfect theater for this production with its lavish architecture and rich history of landmark Broadway shows.”
Based on the Oscar-nominated 2001 film of the same name...
- 11/19/2018
- by Brian Welk
- The Wrap
The Broadway adaptation of Baz Luhrmann’s Moulin Rouge! will begin its run on the boards next summer, producers announced, with previews starting June 28 and opening night set for July 25.
Producer Carmen Pavlovic (Global Creatures) called the show’s home, the Al Hirschfeld Theatre, “the perfect theater for this production with its lavish architecture and rich history of landmark Broadway shows.”
As in the film, Moulin Rouge! celebrates some of the greatest popular music of the last 50 years. The stage musical features many songs from the movie and also includes recent hits released since the movie premiered in 2001. After a splashy Cannes launch, the film version went on to earn eight Oscar nominations, including one for Best Picture, and took home two trophies.
Cast members from the production’s run last summer in Boston will transfer to Broadway, including Karen Olivo, a Tony winner for West Side Story and In the Heights,...
Producer Carmen Pavlovic (Global Creatures) called the show’s home, the Al Hirschfeld Theatre, “the perfect theater for this production with its lavish architecture and rich history of landmark Broadway shows.”
As in the film, Moulin Rouge! celebrates some of the greatest popular music of the last 50 years. The stage musical features many songs from the movie and also includes recent hits released since the movie premiered in 2001. After a splashy Cannes launch, the film version went on to earn eight Oscar nominations, including one for Best Picture, and took home two trophies.
Cast members from the production’s run last summer in Boston will transfer to Broadway, including Karen Olivo, a Tony winner for West Side Story and In the Heights,...
- 11/19/2018
- by Dade Hayes
- Deadline Film + TV
Tony-winner Karen Olivo, Next to Normal‘s Aaron Tveit and six-time Tony nominee Danny Burstein have been set as the principal cast in the upcoming Moulin Rouge! The Musical, the world premiere engagement in Boston of the Broadway-bound production.
Based on Baz Luhrmann’s 2001 movie, the stage version, produced by Global Creatures, is being directed by Alex Timbers, the Bloody Bloody Andrew Jackson director who also has a stage version of Beetlejuice in the works.
The musical’s book is by John Logan (Red), and like the movie, the stage Moulin Rouge! will include popular songs from the past five decades, some used in the film and some from the years since the film’s release. Justin Levine is Music Supervisor, Orchestrator and Arranger and Matt Stine is Music Producer. Sonya Tayeh is the choreographer.
Moulin Rouge! The Musical will play the Boston limited engagement at the refurbished Emerson Colonial Theatre,...
Based on Baz Luhrmann’s 2001 movie, the stage version, produced by Global Creatures, is being directed by Alex Timbers, the Bloody Bloody Andrew Jackson director who also has a stage version of Beetlejuice in the works.
The musical’s book is by John Logan (Red), and like the movie, the stage Moulin Rouge! will include popular songs from the past five decades, some used in the film and some from the years since the film’s release. Justin Levine is Music Supervisor, Orchestrator and Arranger and Matt Stine is Music Producer. Sonya Tayeh is the choreographer.
Moulin Rouge! The Musical will play the Boston limited engagement at the refurbished Emerson Colonial Theatre,...
- 4/4/2018
- by Greg Evans
- Deadline Film + TV
Aaron Tveit and Karen Olivo will headline the new musical adaptation of “Moulin Rouge,” the stage adaptation of the 2001 Baz Luhrmann film.
Tveit, a Broadway fan-favorite whose screen work has included the film version of “Les Miserables” and TV outings “Graceland” and “Grease Live,” will play the role Ewan McGregor played in the movie, with Tony winner Olivo (“West Side Story,” “In the Heights”) on board in the Nicole Kidman part. Also on the cast list are Danny Burstein (“Fiddler on the Roof,” “Cabaret,” “Follies”), playing the host of the Moulin Rouge, as well as Sahr Ngaujah (“Fela”), Ricky Rojas, Robyn Hurder and Tam Mutu.
Alex Timbers (“Bloody Bloody Andrew Jackson,” “Peter and the Starcatcher”) directs the musical, with a book by John Logan (“Red,” “Gladiator”) adapted from the screenplay by Luhrmann and Craig Pearce. Sonya Tayeh (“So You Think You Can Dance”) choreographs.
“Moulin Rouge” centers on the romance...
Tveit, a Broadway fan-favorite whose screen work has included the film version of “Les Miserables” and TV outings “Graceland” and “Grease Live,” will play the role Ewan McGregor played in the movie, with Tony winner Olivo (“West Side Story,” “In the Heights”) on board in the Nicole Kidman part. Also on the cast list are Danny Burstein (“Fiddler on the Roof,” “Cabaret,” “Follies”), playing the host of the Moulin Rouge, as well as Sahr Ngaujah (“Fela”), Ricky Rojas, Robyn Hurder and Tam Mutu.
Alex Timbers (“Bloody Bloody Andrew Jackson,” “Peter and the Starcatcher”) directs the musical, with a book by John Logan (“Red,” “Gladiator”) adapted from the screenplay by Luhrmann and Craig Pearce. Sonya Tayeh (“So You Think You Can Dance”) choreographs.
“Moulin Rouge” centers on the romance...
- 4/4/2018
- by Gordon Cox
- Variety Film + TV
Good morning, BroadwayWorld Today's big news Tam Mutu, Stephanie Umoh and Juliette Goglia lead a reading of the recent musical adaptation of Jane Eyre today...
- 7/19/2017
- by Jessica Khan
- BroadwayWorld.com
Recently, CBS released the new,official synopsis/description for their upcoming "Blue Bloods" episode 13 of season 6. The episode is entitled, "Stomping Grounds," and it turns out that we're going to see some pretty interesting and high drama stuff go down as Frank catches major fallout after the actions of an NYPD lieutenant leaves potential muggers shot dead on a subway, and more! In the new, 13th episode press release: Frank Must Deal With The Fallout When A Newly Retired NYPD Lieutenant Is Accused Of A Crime, On "Blue Bloods," Friday, Jan. 22. Press release number 2: When a well-regarded, newly retired NYPD lieutenant is accused of shooting a group of potential muggers on the subway and then disappears, Frank will have to deal with the fallout. Also, when a drug dealer returns to Baez's old neighborhood, she and Danny are going to have to find out how to arrest him for...
- 1/15/2016
- by Chris
- OnTheFlix
The cast of new musical Doctor Zhivago, which opened on April 21st and closed on May 10th, 2015 at the Broadway Theatre, hit the recording studio this spring to prepare for the release of the show's original cast recording, which is now available via Broadway Records Here. Below, check out an exclusive video of Tam Mutu and Lora Lee Gayer performing 'Watch The Moon' in honor of the Blood MoonLunar Eclipse last night.
- 9/28/2015
- by Stage Tube
- BroadwayWorld.com
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