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"Jazz is the sound of suprise, and Steve Adelson's The Answer's Inside keeps the unexpected going with the lyrically swinging Chapman Stick, adding a new dimension to listening."
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Moulin Rouge! The Musical Event Dates & NYC Broadway Tickets

The many wholly original works of art can, at the support of story or character or center, summon the stray memory, the more whispery chill of deja vu. They'll change on the bittersweet recall of better times or drip-drop echoey small splashes of their worst. Most, however, remember to flip the damn spigot off. Selling Out Fast - Book Now‎ Moulin Rouge Broadway show tickets at Guaranteed Low Price.

Seeing Broadway's truly lovely-looking, golden-oldie-stuffed Moulin Rouge! The Musical, starting tonight, I had been reminded time and time (and time) again not only of life situation when that or this struck tune caught our shared focus, but of Moulin's religious protagonist. I thought of Baz Luhrmann's 2001 film, also, but the predecessor never escaped my head was Name That Tune, the older game show where contestants vied to be the very first to recognize that a tune in as few notes as possible.

In case you're the type of person who frets that jukebox musicals are carrying over Broadway, prepare yourself to tilt at the windmill that's the stunning, gaudy, spectacularly overstuffed Moulin Rouge! The Musical. Directed with extravagant showmanship by Alex Timbers, this adaptation of Baz Luhrmann's 2001 picture may be costume jewelry, but its glow is dazzling.

The location is that the legendary Paris nightclub of this name, along with the year is ostensibly 1899. Yet the tunes --such as Catherine Zuber's eye-popping costumes--interval several 150 years of styles. Moulin Rouge! Begins with a generous slathering of "Lady Marmalade," belted into the heavens by four girls from sexy black lingerie, long latex gloves and feathered headdresses. Shortly they yield the point into the beautiful courtesan Satine (a sublimely troubled Karen Olivo), making her grand entry descending from the ceiling on a swing, singing"Diamonds Are Forever." She's the Moulin Rouge's main songbird, also Derek McLane's sumptuous gold-and-red place looms around her just like a gilded cage.

After falling in with a bohemian crowd, Christian (the boyish Aaron Tveit), a budding songwriter from small-town Ohio, wanders to the Moulin Rouge such as Orpheus from the demimonde, his lips as rosy with innocence because the showgirls' are blushed with maquillage. As unkind fate would have it, he instantly falls in love with Satine, and she --but she's been sworn, alas, into the wicked Duke of Monroth (Tam Mutu), on whose patronage the club is different. Additionally, Satine is dying of consumption, as a traditional red-handkerchief second shows.

The musical provides lip service to proletarian ideals, as enunciated by its own variant of the painter Henri de Toulouse-Lautrec (Sahr Ngaujah), but its allure is the contrary: As Broadway reveals become more expensive and pricier, here is one which feels and looks expensive. It is a very fancy heart-shaped box of Valentine's Day chocolates, although you understand exactly what you're likely to get, every bite is still just a small surprise: occasionally gooey, sometimes nutty, sometimes fruity, sometimes sweet, sometimes rancid but mostly yummy. And if there is any consolation to the haters, Moulin Rouge! May prove to be the jukebox musical to end all jukebox musicals--if only because, one of its distinct type of jukebox musical least, it is difficult to envision how it can be topped.

Al Hirschfeld Theatre 302 West 45th Street New York, NY 10036