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“Turning it into a pop-up book, lifting up the words in a really colourful way.” “You have a book that you’re following and you have to make it come alive,” the choreographer adds. “I play a lot with momentum and suspension,” says Tayeh, describing her experiments with tempo and freezes she can mimic an editor’s tricks, like a “speed ramp”, with a sudden acceleration, or subvert what the music’s doing, hitting the brakes when the song is gathering pace. Her work uses the power and snap of commercial choreography alongside the rich lyrical possibilities of modern dance ( Twyla Tharp is a major inspiration). Then there’s the choreography, created by Sonya Tayeh, an Emmy nominee for her work on US TV show So You Think You Can Dance, as well as choreographer for Kylie Minogue and Florence + the Machine. “And I think your lighting designer is your editor, focusing your eye: Look over here! Look over here!” “The song is the closeup,” says Timbers – it’s the moment we zoom in to what a character’s feeling.
“You can jump cut to a song, you can crossfade between songs, and sometimes hearing two songs at the same time gives you that sort of delightful dizzying effect that I find so thrilling in the movie,” he says.
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For music supervisor, arranger and composer Justin Levine – tasked with merging 70 songs from the last 120 years of popular music, plus original material, into a score crammed with medleys and mashups – music was a way to do that.
Getting the same feel on stage has been a challenge.
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The movie may be theatrical, but its style is characterised by a lot of things that can only be done in the edit suite: jump cuts, closeups, whip pans and other effects. “This is all with Baz’s blessing,” adds Timbers. “You need protagonists with agency who are always making active choices.” So courtesan Satine gets a bit more clout, and the love triangle between her, Christian and the Duke is made more difficult. “The requirements of theatre are different,” says Timbers. The book, written by playwright John Logan, mostly shares the same plot as the film, but there are minor tweaks. A love story about penniless songwriter Christian and cabaret star/courtesan Satine, it’s an ode to theatrical dreamers, so not surprising it ended up on stage, winning 10 Tony awards on Broadway and now opening in London and Melbourne. Luhrmann’s film, which took $179m at the box office, was the final part in his “red curtain trilogy” after Strictly Ballroom and Romeo + Juliet, and the most flamboyantly OTT of the three, a fast-edited onslaught of maximalist glamour. Karen Olivo as Satine and Aaron Tveit as Christian in the US production. “Our goal is that in the first five minutes” – the show opens with a blistering rendition of Lady Marmalade – “your shoulders go down, phew, and you realise everyone who made this loves the movie too.”
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“We’ve all been to that adaptation where you’re like: ‘What did you do to ET? Why is ET a serial killer?!” says director Alex Timbers. Moulin Rouge! The Musical does not drastically reinvent its source material.
Rest assured, if you loved Baz Luhrmann’s 2001 film, the one with Ewan McGregor and Nicole Kidman singing Elton John in a collision of belle époque and 20th-century pop, you will get what you’re looking for here. All to make you feel as if you’ve been transported to Paris’s seedy Pigalle circa 1899. On stage, there are fishnets, ruffled skirts, sequined bustiers and extravagant feather headdresses. Crimson drapes across the ceiling of London’s Piccadilly theatre, past the crystal chandeliers, the lit-up windmill, the blue jewelled elephant and the neon sign that reads: Moulin Rouge.