Adieu, Moulin Rouge!

Adieu

Yesterday, after 24 previews, 2289 performances, and surviving one global pandemic, Moulin Rouge! closed at the Al Hirschfeld Theatre. All shows must eventually come to an end. It's the circle of Broadway life. And yet, I feel a sort of sadness I don't normally feel for such a show.

It is not only a screen to stage musical adaptation, but also the very definition of a jukebox musical. There sure are a lot of those these days. Yet, somehow this one hits differently to me. I've been wondering why since they announced the closing months ago.

Perhaps it is because the movie upon which it is based is a favorite of mine to begin with. Or maybe it's because that film is itself a jukebox musical. Both versions also share that they use those jukebox tunes in very clever ways, turning up the emotion and twisting things in a knowing, self-aware way. Then, there is that both versions take their message of "truth, beauty, freedom and love" to heart and wear it on their artistic sleeves.

The musical also takes care to include beloved elements from the movie, while expanding and nurturing them in purely live theater terms. It does what only a live experience can. The design submerged you and a completely separate world, from inside the lobby doors. The visuals were breathtaking - from the red windmill slowly spinning, to the passerelle thrusting out into the seats, to the giant blue elephant standing vigil over the house. The show promised "spectacular spectacular" and it delivered from pre-show to curtain call. In a climate where more often than not minimalism is an economic necessity, Moulin Rouge! was unabashedly maximalist.

Personally, I have some wonderful memories of the show. 

It was the first time I traveled to see a world premiere out of town tryout. (Being from the Baltimore/D.C. area I've been lucky to see many pre-Broadway runs.) It was my first time ever going to Boston, and being both a history buff and a theater lover, it was right up my alley. I remember it was a warm, almost hot day when we went to the historic Emerson Colonial Theatre, home to many great out of town tryouts over the years. It was grand in a way you only read about, and in the way that pictures simply do not do it justice. Before we even went in the house, it was amazing and humbling to see the walls covered with show posters of some of what would turn out to be Broadway's biggest hits with some of history's biggest stars.

  

  

Now, after all this love and admiration, you'd think I'd have seen this show many times over the past seven or so years. You'd be wrong. We only went once to the show on Broadway. It was a preview performance, and actually a special occasion - it was "Baz Luhrmann Day," complete with a post-show appearance by the man himself. What a thrill! It was so perfect, I really didn't want to spoil the memory by seeing different people in these roles (not that I wasn't tempted...). How wonderful to see three of my all-time favorite performers together - Aaron Tveit, Karen Olivo and Danny Burstein. And how terrific that Aaron and Danny won Tony Awards for their efforts.

And so, it is with mixed emotions and a measure of gratitude that I bid the Bohemians a fond adieu. You all were truly spectacular spectacular.

At This Theatre: The Al Hirschfeld

At This Theatre:

The Al Hirschfeld

On November 11, the Al Hirschfeld Theatre turned 100 years old! Back then, it was known as the Martin Beck Theatre, and it stayed that way until June 21, 2003, when the name was changed to honor the great American caricaturist, famously known for his iconic images of Broadway shows. In 1924, the doors opened to a brand new musical, Madame Pompadour. Over the century, the theater was host to a variety of plays and revivals, new and revival. Among the high profile productions that played there are: Victoria Regina starring Helen Hayes, original productions of The Teahouse of the August Moon, The Crucible, and Candide. Transfers of the original runs of Man of La Mancha and Bye Bye Birdie. Celebrated flops include Tony-winner Hallelujia Baby!, Bring Back Birdie and Drat! The Cat!. Over the past forty seasons or so, big names have trod the boards there, including Chita Rivera and Liza Minnelli in The Rink, Brian Stokes Mitchell in both Kiss Me, Kate and Man of La Mancha, Nathan Lane and Faith Prince in Guys and Dolls, and Daniel Radcliffe in How to Succeed...

Number of Shows We've Seen There: 10

Curtains, Elf, Grand Hotel, Hair, How to Succeed In Business Without Really Trying! (2011), Into the Woods (1987), Kinky Boots, Moon Over Buffalo, Moulin Rouge!, The Wedding Singer

The 5 Shows That Were Our Favorites at the Hirschfeld:

5. Hair (2009) I caught this one in early previews and was completely bowled over by its energy, artistry and importance. At the performance I attended, I got to see the actual Broadway debut - his very first performance - of Jay Armstrong Johnson on as Claude, not to mention a very up close encounter with Will Swenson, and a patchouli scented cloud surrounding Caissie Levy, all of whom have become some of my very favorite performers. It was an exciting bolt of theatrical lightning!

4. Moulin Rouge! We caught this exciting show first in Boston, and knew immediately we would see it on Broadway. Spectacular doesn't really quite do this amazing production justice. The sets, costumes and lighting are eye-popping, and the choreography by Tony-winner Sonya Tayeh is thrilling. But for me, the original cast was the reason to see the Rouge again. Aaron Tveit and Karen Olivo had smoldering chemistry, and the always wonderful Danny Burstein was extra special. 

3. Moon Over Buffalo When the great Carol Burnett announced her long-awaited Broadway return, I had to see her. She was, of course, brilliantly funny and bursting with joy. But the rest of the company was no slouch, either. A cast that included Philip Bosco, Randy Graff and Jane Connell was more than up to the task of sharing the stage with Burnett. The best part of it all was that Ken Ludwig's ridiculously funny script was smart and clever enough to be worth the comedienne's time. This is a truly cherished memory of mine.

2. Into the Woods (1987) One of the things I am most proud of in my theater collection is a Playbill from an early preview of this show, as it includes songs that are no longer part of the script, now familiar tunes not in the song list, and a different order to some songs. A devout Sondheim fan, seeing it as a work in progress was a distinct thrill. I would end up seeing the original production and cast several more times. I mean how could I resist seeing Bernadette Peters, Chip Zien and the brilliant Tony-winning turn of Joanna Gleason multiple times?

1. Grand Hotel I knew I was going to love this show when the pre-show announcement came on: "Grand Hotel: The Musical, like the film upon which it is based, will be performed without an intermission." (Back then, one act Broadway shows were rare.) From that moment, I was smitten. The mysterious score, the non-stop choreography and tight Tommy Tune staging were a feast for the eyes, heart and mind. The opportunity to see such great performers as Lillian Montevecchi, Karen Akers, Jane Krakowski and Michael Jeter at their peak is an honor I fully recognize and will cherish for the rest of my life.

Do you have any favorite memories at the Al Hirschfeld Theatre? Share with us on Twitter, Instagram, Threads or Blue Sky!

Star-to-Be: John Cardoza

Although I love seeing the complete original cast when I see a new show, many times for one reason or other actors are out at the particular performance I attend. I can't think of a single time I was disappointed when I saw what the understudy had to offer. One time this was the case was when I saw the guy who was on as Phoenix in Jagged Little Pill. I knew almost immediately that this young man was going to have a future on the stage. So far, I've been correct about John Cardoza. With charisma to spare, matinee idol looks and the voice of an angel, he has that "it" factor that eludes a specific definition. Now, he's back on Broadway in the featured role of Younger Noah in The Notebook. He's definitely on his way.

🌟Star-to-Be🌟

The Notebook's John Cardoza

After earning his BFA in Musical Theater from the Boston Conservatory of Music, he has worked quite a bit. Regional credits include the Stephen Schwartz musical revue, Snapshots at ACT of CT, and Gabe in Next to Normal at TheaterWorks Hartford. Then came Jagged Little Pill at A.C.T and then Broadway where he played the drug dealer/ensemble track while understudying the role of Phoenix. He originated the role of Daniel in the Broadway-aimed The Karate Kid: The Musical, then took over the part of Christian in the 1st National Tour of Moulin Rouge! In the midst of all that, he also created the role of Younger Noah in the world premiere of The Notebook, and came with the production to the Gerald Schoenfeld Theatre on W. 45th Street.

Snapshots: A Musical Scrapbook

Next to Normal

Jagged Little Pill

The Karate Kid: The Musical

Moulin Rouge!: The Musical

The Notebook