{"id":103865,"date":"2024-03-05T15:46:53","date_gmt":"2024-03-05T21:46:53","guid":{"rendered":"https:\/\/news.medill.northwestern.edu\/chicago\/?p=103865"},"modified":"2024-03-15T11:58:54","modified_gmt":"2024-03-15T16:58:54","slug":"flowers-or-tomatoes-theatergoers-share-mixed-reviews-of-moulin-rouge-the-musical-and-dear-octopus-revivals","status":"publish","type":"post","link":"https:\/\/news.medill.northwestern.edu\/chicago\/flowers-or-tomatoes-theatergoers-share-mixed-reviews-of-moulin-rouge-the-musical-and-dear-octopus-revivals\/","title":{"rendered":"Flowers or tomatoes? Theatergoers share mixed reviews of \u2018Moulin Rouge! The Musical\u2019 and \u2018Dear Octopus\u2019 revivals"},"content":{"rendered":"

By Medill Explores: Arts and Culture in London students
\n<\/strong>Medill Reports<\/em><\/p>\n

Two reimagined classic shows \u2014 one on the West End and another at the Royal National Theatre \u2014 earn stars from some Medill master\u2019s students who recently traveled to London. But even the curtain calls come with caveats.<\/p>\n

\u201cMoulin Rouge! The Musical\u201d<\/strong><\/h1>\n

Lady Gaga\u2019s \u201cBad Romance,\u201d Britney Spears\u2019 \u201cToxic\u201d and Adele\u2019s \u201cRolling in the Deep\u201d sound like they belong on a playlist for a mediocre karaoke bar \u2014 not the score for a West End show. With sequined corsets, can-cans and overplayed, all-too-familiar lyrics, Piccadilly Theatre\u2019s production of \u201cMoulin Rouge! The Musical\u201d follows the love story of Satine (effortlessly played by Tanisha Spring) and Christian (expertly played by Dom Simpson), an unlikely pair who fight through secrecy, status and scandal to be together in 1899 Paris. While the 2001 film starring Nicole Kidman and Ewan McGregor also covers recognizable songs, including Madonna\u2019s \u201cLike A Virgin,\u201d a musical aficionado might be startled to hear Katy Perry\u2019s \u201cFirework\u201d instead of an original ballad. Some audience members appreciated the cheesy choruses more than others \u2014 with some giggles and scoffs when Sia\u2019s \u201cChandelier\u201d began, or sniffles and an \u201cawwww!\u201d during Elton John\u2019s \u201cYour Song.\u201d Still, Spring and Simpson dazzle with their powerful vibratos and undeniable chemistry. Overall, admirers of beloved pop track lists will applaud remixes of Lorde and Rihanna, but anyone else would be better off getting a ticket to a show with more inventive songwriting \u2014 instead of 2010\u2019s top-50 radio hits. \u2013 Megan Forrester<\/em><\/p>\n

 <\/p>\n

Visually, Piccadilly Theatre\u2019s production exquisitely honors the historic Parisian theater and Baz Luhrmann\u2019s 2001 film. Before the curtains open, a light-up elephant and moving windmill creep into the box seats, and actors in lacy black corsets and feathers slink hypnotically across stage. But the show misses the note from its jarring, explosive opening number, \u201cWelcome to the Moulin Rouge!\u201d Its modern jukebox style feels like a schtick that goes on too long for an audience forced to hurtle past major plot points (two of the characters are childhood friends?) to make room for song, song, song! The near constant singing leaves little time for storyline or emotion, so after nearly three hours, viewers have no stake in the characters and find the love match dubious as they are told, not shown, about the main characters\u2019 time together. A tragic ending and a solemn announcement of the tale\u2019s slapdash theme (\u201cTruth. Beauty. Freedom. Love.\u201d) attempts to cram in some gravity just before the final curtain call. But the whiplash of the transition from the final lament to the return of the opening number (now with can-cans!) sends a different message. Life is tragic. Let\u2019s party! \u2013 Catherine Adams<\/em><\/p>\n

 <\/p>\n

Stepping into a glowing-red room strung with blazing lights and bass-bumping music perfectly introduces how \u201cMoulin Rouge! The Musical\u201d transformed Piccadilly Theatre into a concert-dance showcase. Colorful, bright costuming kept all eyes trans, most notably through Tanisha Spring\u2019s blinding diamond getups in her portrayal of Satine, a glamorous, captivating star of the Moulin Rouge nightclub. Strong vocal and dance performances drove the audience through the classic romance story and into a realm where the avant-garde mingle with the elite. Leading performers included Spring and Dom Simpson in his portrayal of Christian, a young composer who fights to win Satine\u2019s love in the archetypal storyline of love versus money. The nightclub\u2019s host, Harold Zidler, played by Matt Rixon, invites theatergoers to immerse themselves in the spectacle \u2014 and they do, as evidenced by belly laughter and applause. Yet, story plot holes left lasting questions. One major conflict, the nightclub\u2019s struggling financial status, remains unresolved. And the mostly cheesy mashup of early-2000s top-hits pop singles (like the eye-rolling rendition of Katy Perry\u2019s \u201cFirework\u201d during an emotional scene of Satine confronting her struggles as a sexualized woman in entertainment) were less of a contemporary twist on classic musicals, and more so outdated and unintentionally comical. Older generations may find the show creative and emotional, since the soundtrack won\u2019t evoke memories of their awkward teenage years. But anyone younger might laugh and roll their eyes too. \u2014 Carla McCanna<\/em><\/p>\n

 <\/p>\n

At \u201cMoulin Rouge! The Musical,\u201d whimsical, colorful lighting and effects accentuated elegant, flashy garments. Loud applause greeted well-choreographed numbers, but something felt off about the show. Giggles and gasps wafted around the theater as lead actress Tanisha Spring, playing cabaret performer Satine, began singing \u201cFirework,\u201d the 2010 dance-pop hit by Katy Perry at a pivotal moment. The performers also belted out odd renditions of \u201cRolling in the Deep\u201d by Adele and \u201cBad Romance\u201d by Lady Gaga. Older attendees seemed unfazed, perhaps because the songs fit the plot just as strangely as the remakes of \u201cRhythm of the Night\u201d by DeBarge and \u201cRoxanne\u201d by The Police fit the 2001 film version of \u201cMoulin Rouge.\u201d Twentysomethings who listened to 2010s top hits on their iPod Touches ad nauseam may find themselves haunted by the overplayed beats they will forever associate with mustache tattoos and feather extensions. Gen Z, cover your ears. \u2013 Abigail Ali<\/em><\/p>\n

 <\/p>\n

The 10-time Tony winner \u201cMoulin Rouge!,\u201d adapted from the 2001 film, flaunts all the elements of a box-office sensation \u2014\u00a0a tragic love story, dynamic cabaret choreography and a glittering set that transports viewers to Champ de Mars. In the fiery opening scene, a remake of the 1974 Labelle hit \u201cLady Marmalade\u201d sexualizes the theater, and the leggy movements of the club girls in their black lace leotards emit a pulsing energy. But the electricity quickly loses power as the jukebox soundtrack progresses. Love, lust and \u2026 is that Katy Perry?\u00a0 Before the Evil Duke can kill Satine and Christian\u2019s romance, the true butcher reveals itself: Walk the Moon\u2019s 2014 radio anthem \u201cShut Up and Dance.\u201d Not maddening enough on its own, it is spliced with Pink\u2019s \u201cRaise Your Glass.\u201d Iconic? Yes. Timeless? Questionable. The outdated music consistently pulls viewers out of the story, and only quality classics like Elton John\u2019s \u201cYour Song\u201d or the film\u2019s original duet \u201cCome What May,\u201d composed by David Baerwald and Kevin Gilbert, allow them to re-engage. Even the best of the score doesn\u2019t revive the plot, lost to antiquated tunes, but if you\u2019re craving karaoke night and are well-versed in 2010s pop music, this show is for you. \u2013 Julia Gordon<\/em><\/p>\n

 <\/p>\n

\"Moulin
“Moulin Rouge! The Musical” at Piccadilly Theater in London. (Samantha Thomas\/MEDILL)<\/figcaption><\/figure>\n

The jukebox musical \u201cMoulin Rouge!\u201d dazzles for its genius representation of emotion through costuming and color, much more than for its cookie-cutter dialogue and acting. Tony-winning head designer Catherine Zuber deems movement the theme. Sequins and sparkles shine from tightly bound corsets, dancers\u2019 billowy green- and orange-tiered skirts burst out wide and high during kicklines, and Satine, skillfully played by Tanisha Spring, glides across the stage to and from her lovers in bright robes adorned with poofy feathers and long, trailing slits. The show symbolizes seduction with pink and love with blue, but it\u2019s rouge that dominates the stage. It marks Satine like a scarlet letter. Who is she? A performer, a prostitute, a duchess, a lover? In a cardinal moment, the Champs-\u00c9lys\u00e9es bourgeoisie lifts Satine, her arms outstretched like Jesus on the cross, and transforms the hue of her red gown into one matching their aristocratic soft purples \u2014 a physical manifestation of a tempting new status. Viewers could most likely guess the entire plot of \u201cMoulin Rouge!\u201d based on costume colors. Is this good or bad? There\u2019s only one way to find out. – Sylvie Kirsch<\/em><\/p>\n

 <\/p>\n

The West End\u2019s captivating adaptation of director, producer and co-writer Baz Luhrmann\u2019s sensational romantic film \u201cMoulin Rouge!\u201d astonished audiences with its portrayal of love, loyalty and truth. The glamorous show follows Christian, an American writer who falls for Satine, a cabaret actress and the star of the club Moulin Rouge. Amid the backdrop of 1899 Paris, this modern take uses mashups of songs from the 1940s to the 2010s, such as Rihanna’s \u201cDiamonds,\u201d Madonna\u2019s \u201cMaterial Girl,\u201d Katy Perry\u2019s \u201cFirework,\u201d Marilyn Monroe\u2019s \u201cDiamonds Are A Girl\u2019s Best Friend\u201d and Adele\u2019s \u201cRolling In The Deep.\u201d These well-known choices often felt jarring and out of place, given the historical context, and distracted from the strong points of the performance, like the characters\u2019 acting, singing and dancing. Yet, the glitz and glamour of the set design and the extravagant costumes worn by the talented cast members still captivated the audience. While theatergoers often moaned, groaned and laughed as they repeatedly guessed which song would play next, classic pop enthusiasts should get a kick out of this contemporary take on a beloved musical. \u2013 Tara Mobasher<\/em><\/p>\n

 <\/p>\n

\u201cMoulin Rouge!\u201d at Piccadilly Theatre sparkles from a cast full of creative powerhouses. Tanisha Spring, as cabaret performer Satine, and Dom Simpson, as singer-songwriter Christian, dazzle on the extravagant stage, carrying the show through outdated (and sometimes cringey) jukebox numbers like Walk the Moon\u2019s \u201cShut Up and Dance\u201d mashed up, \u201cGlee\u201d<\/em> style, with Pink\u2019s \u201cRaise Your Glass.\u201d Spring\u2019s powerful vocals even manage to nearly sell Katy Perry\u2019s overplayed \u201cFirework\u201d as a solemn emotional power ballad. Aside from the knockout original song, \u201cCome What May,\u201d the decades-old radio hits feel like a try-hard, failed attempt at keeping current. But it\u2019s the artists behind the cast, like costume designer Catherine Zuber, who make this production sing. Zuber cleverly uses gendered color stories, dressing Spring in hyperfeminine corsets and pink and red lingerie, and Simpson in masculine sapphires and muted chocolate browns. As the scandalous love-triangle unfolds, Zuber ditches the gendered pinks and blues for warm, nostalgic-feeling yellows. By curtain call, Satine and Christian exchange color stories, symbolizing their unity and devotion for one another. Despite the string of songs that make you feel like you\u2019re walking through a Macy\u2019s, the skillful performance and breathtaking set design make the evening at the West End well worth it. \u2013 Samantha Thomas<\/em><\/p>\n

 <\/p>\n

Traditional theater merges with iconic songs in the must-see avant-garde spectacle that is \u201cMoulin Rouge! The Musical.\u201d Based on the 2001 film, itself inspired by the famous Parisian cabaret, this electric jukebox musical is Shakespearean tragedy delivered \u00e0 la mode. There\u2019s love and triumph, yet also lechery and mortality \u2013 all to the tune of Billboard hits from stars such as Queen, Elton John, U2, Pat Benatar and Katy Perry. The savvy, meticulous wordsmithing from playwright John Logan (a Northwestern graduate) is paired with clever musical arrangements by Justin Levine. Throughout the plot, dialogue abruptly switches to lyrics, at which point actors become singers, play becomes concert, treating an increasingly expectant audience with harmonious interludes. In this way, playgoers enjoy two art forms at their highest quality for the price of one ticket. Pay that price. See this show. Its sights, sounds and compelling story make this tour de force a worthy indulgence. \u2014 Michael Lindemann<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

\"Dear
(Image by Kelvin Murray)<\/figcaption><\/figure>\n

\u201cDear Octopus\u201d<\/strong><\/h1>\n

In 1938, English playwright and novelist Dodie Smith depicted the intertwined laughter and tears within a British family in \u201cDear Octopus.\u201d A thought-provoking revival at the National Theatre uses the timeless narrative to capture the essence of the Randolph family through the lens of a golden wedding anniversary between Dora (Lindsay Duncan) and Charles (Malcolm Sinclair). The reunion of the children, grandchildren and siblings unfolds with a daughter ending a longtime affair in Paris, an orphan missing her parents and a maid revealing her secret love. The poignant play creatively weaves humorous conversations into the plot, revealing Dora\u2019s tender heart beneath her sharp wit: She always sounds aggressive, assigning everyone jobs, but she glues everyone together. Though the family seems dysfunctional, it remains bonded through soft tentacles \u2014 like a \u201cdear octopus.\u201d At the end, even when the outbreak of World War II is announced on the radio, the audience still believes the resilient Randolphs can endure the darkness ahead. The show gives an alternative for people who are tired of the bustling West End and want to reflect on their own family\u2019s narratives. \u2013 Tianshu Hu<\/em><\/p>\n

 <\/p>\n

The National Theatre\u2019s latest production of \u201cDear Octopus,\u201d based on the 1938 two-act play by novelist Dodie Smith, showcases great performances from the cast, despite the show\u2019s glacial pacing (the runtime: 165 minutes). The plot follows members of the large Randolph family, who ponder time, death and aging during the golden wedding anniversary of Dora (Lindsay Duncan) and Charles (Malcolm Sinclair).<\/p>\n

\"Dora,
Lindsay Duncan (Dora), Billy Howle (Nicholas), Bessie Carter (Fenny) and Malcolm Sinclair (Charles) in ‘Dear Octopus’ (Images by Marc Brenner)<\/figcaption><\/figure>\n

While Fenny (Bessie Carter) and Nicholas (Tom Glenister) are the protagonists, the seniors steal the show \u2014 especially when they deliver lines that poke fun at the government. Sinclair and Duncan, who demonstrate good chemistry, remain offstage for most of act two. This creative decision makes their eventual return more dramatic. Ultimately, the play lives up to the standard set by the National Theatre\u2019s other high-quality productions.\u00a0The performances by Duncan and Sinclair uplift a story you can\u2019t miss. \u2013\u00a0Valenti<\/em>\u00a0Govantes<\/em><\/p>\n

 <\/p>\n

Just before the start of World War II, the dysfunctional but caring Randolph family reunites to celebrate the matriarch and patriarch\u2019s golden wedding anniversary. The National Theatre\u2019s revival of British playwright Dodie Smith\u2019s \u201cDear Octopus,\u201d originally written and performed in 1938, tackles themes of shame, grief, love and connection. Burdened by the death of loved ones and World War I, the Randolphs struggle to empathize with one another. The revolving set (decorated as a 1930s country house), with empty portrait frames on dreary walls of subdued blues and greens, symbolize this gloom. But a fire always illuminates the family. Just as they continue to tend to the flames, they never give up on one another.<\/p>\n

\"The
(Images by Marc Brenner)<\/figcaption><\/figure>\n

Glimmers of love are seen in a quick glance, a longing touch or a song between grandmother and granddaughter. The audience never actually sees the wedding of Grandma and Grandpa, but a sliver of golden light reveals the family rejoicing as the stage rotates to the next scene. During scenes when the dialogue drags, the clever use of lighting and set design succinctly captures the show\u2019s heart. The play\u2019s slice-of-life plot starts as a slow burn, but it sends the message that family \u2014 no matter how disjointed and chaotic \u2014 can be a light in the darkness. \u2013 Channa Steinmetz<\/em><\/p>\n

 <\/p>\n

These reviews are written by graduate students at Medill. Follow\u00a0@MedillChicago<\/a>\u00a0on X and\u00a0@medillreports<\/a>\u00a0on Instagram to see more student work.<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

By Medill Explores: Arts and Culture in London students Medill Reports Two reimagined classic shows \u2014 one on the West End and another at the Royal National Theatre \u2014 earn stars from some Medill master\u2019s students who recently traveled to London. But even the curtain calls come with caveats. \u201cMoulin Rouge! The Musical\u201d Lady Gaga\u2019s […]<\/p>\n","protected":false},"author":938,"featured_media":103873,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[194,5405,5399,5398],"tags":[],"class_list":["post-103865","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-culture","category-london-2024","category-medill-explores-2024","category-winter-2024"],"yoast_head":"\nFlowers or tomatoes? Theatergoers share mixed reviews of \u2018Moulin Rouge! 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