If you like splash, “Moulin Rouge!” is the show for you. Even more than the Baz Luhrmann movie, on which the musical is loosely based, it can hold your wonderment without abate from start to finish. Let us begin with the enchanting lighting design.
Then take the costumes by veteran Catherine Zuber. They can be seriously beautiful or slaphappily comic, but always helping the wearer to the desiderated character. Like the men in top hats and evening garb, smoking cigars, in various parts of he stage, mostly balconies; or, in diverse configurations, the group of cancan dancers, performing or just oolalaing to heart’s content.
Much of the music that Justin Levine has culled, arranged and orchestrated derives from very smart jukeboxes melodious to begin with. Eight experts assisted Levine in their various capacities, all to good effect.
But what about the book by John Logan, primarily the tragic story of the young, innocent composer, Christian (here an American), in love with Satine, experienced headliner at the Moulin Rouge and courtesan of a certain age? It is clearly influenced by Alexandre Dumas fils’s truth-inspired drama, “La Dame aux Camelias,” and by what Francesco Maria Piave’s libretto for Verdi’s “La Traviata” made of it.
There are thus also the wealthy Duke of Monroth, Christian’s rival for Satine’s body if not heart, and Harold Zidler. a historic figure, compere for both the show and the nascent show within the show for which Christian is providing the music, and which features the secondary, comic couple of Nini, a dancer, and Santiago, a Hispanic performer, known as the King of the Tango.
Interwoven throughout is the bevy of girl dancers, largely governed by Toulouse-Lautrec, a patron of the Moulin, painter and cripple, enacted by the gifted Sahr Nigaujah.
Satine marks the return to the stage after a long absence by the wonderful Karen Olivo, who looks never a day older or a bit less convincing than of yore. She manages the role with its inherent self-contradiction with exemplary professionalism and compelling charm. She also carries consummately the choreography of Sonya Tayeh, which is consistently evocative.
As Christian, the youthful Aaron Tveit manages the not all that easy task of making innocence interesting in a penetrating role, and there is steady support from Danny Burstein as Zidler, Robyn Hurder as Nini, Ricky Rojas as Santiago, and Tam Mutu as an almost too appealing Duke.
The show profits greatly from the long-active designer Derek McLane, whose scenery does admirably by conjuring the Paris of 1899 and the particular ambiance of the Moulin Rouge, keeping the versatile sets from succumbing to sprawl. This is a show to make the young feel mature, and the old blissfully young again.