Episode Transcript
[00:00:00] Speaker A: Welcome back to the bright lights of Broadway. This is the cosmic curtain, the official podcast of Cosmic Circus Broadway. I'm Brian Kitson, head writer over at the Cosmic Circus and Cosmic Circus Broadway. And joining me, as always, is my co host and fellow box seat Babe, RJ Miller Zelenko. How are you doing today, dude?
[00:00:19] Speaker B: But we'll make it through. Gotta be, gotta be glad for the sunshine in Michigan.
[00:00:24] Speaker A: Absolutely. It's not gonna be here for much longer. We're headed towards the fall and the winter.
I also never call you dude, so I don't know where the hell that came from.
But on today's episode, we're going to be talking about the first official show for this 2024 2025 season of Broadway in Detroit, Moulin Rouge the musical, which felt like a tongue twister there for a second.
The show is adapted from the 2001 Baz Luhrmann film of the same name, starring Nicole Kidman and Iwan McGregor.
Have you seen this film before?
[00:01:03] Speaker B: Plenty of times.
[00:01:06] Speaker A: Is it a staple in the Miller Zelinko household?
[00:01:09] Speaker B: Actually, no.
Because of what it is.
[00:01:14] Speaker A: That's fair. That was a stupid question.
[00:01:17] Speaker B: Probably. I think I discovered it when I was in high school.
Like, probably got it from. Probably heard the soundtrack. I used to.
This ages me, but I used to go to the library and take out cds, and that is how I got my music collection, because I didn't have an eye touch back then. IPod.
And so I burn all the cds out of my computer, maybe upload them to my mp3 player and or cd player, and before that tape player. But that's a whole thing.
So Moulin Rouge, the soundtrack, was one of the ones that I got, which then prompted me to, of course, find the dvd and or vhs at the time. And honestly, that probably didn't happen until close to college.
[00:02:10] Speaker A: Wow. Okay. So quite a bit of time since it came out because you were going to college, like, 2011, 2012 ish.
[00:02:18] Speaker B: Yeah, it had been out for a minute. It wasn't new. It for sure was not new when I saw it.
[00:02:25] Speaker A: First off, you did carbon date yourself by saying getting cds from the library.
But also, I did the same thing. My first one was Britney Spears toxic, and we just never went back.
Tickets.
It tracks 100%.
I did actually did not see this movie either until 2022.
I did not see it until we were. Marty and I were going to New York, and we were seeing it live, and she's like, are you so excited to see it compared to the movie? And I said, I have no idea what the movie even is. You can tell me what the plot is. I wouldn't be able to guess that. And so she made me watch it. And so it was just two years ago, and I think I watched it, like, four times since then because it was just like. I was like, wow, this is such a good film. It's a great story.
[00:03:20] Speaker B: Yeah. Shame on you for not seeing it sooner. Just kidding.
[00:03:23] Speaker A: But as you waited a decade, I mean.
[00:03:30] Speaker B: It is. It is very much like the next, as we know, like, we have these decades of the Romeo Juliet type stories. Right.
The shakespearean.
[00:03:42] Speaker A: The shakespearean love.
[00:03:44] Speaker B: Yeah.
[00:03:45] Speaker A: Tragedy.
[00:03:46] Speaker B: Yeah.
[00:03:46] Speaker A: So would you consider this a romance or a tragedy when you're thinking about shakespearean law here?
Probably a tragedy.
[00:03:56] Speaker B: I mean, tragedy, which, of course, like always, I feel like comes with some type of, like, a lot of love stories. You either resolve it, in which case it is like it ends well, it's an ideal love story, and. Or this is literally just a flip and it doesn't. And it is a tragedy, but I would still consider it a love story. I mean, it's the plot line being so predominantly around love.
[00:04:29] Speaker A: I mean, that is fair. I think that isn't. The comedies ended in marriages and the tragedies ended death. And so I think with that rule, it does obviously fall into a tragedy. But 100% at the core of this film. It is a. It's a love story through and through, and it's a. It's like a true love story.
It's quintessential.
[00:04:52] Speaker B: Well, yeah. As this is about as extreme as you can get in regards to that helpless, angsty romance.
[00:05:02] Speaker A: Sure. Fair warning, listeners. There should have been a spoiler warning before this point, but if you haven't seen Moulin Rouge, the movie, or the musical, you should probably turn around now because we are going to be talking about things like the ending and what happens with that. So this is your last moment. I'm going to give you a moment real quick, and we're done.
So, with it being very true to the film, but the only difference being really additional music, do you feel like it was a good adaptation for the stage? Do you feel like it was adapted well for the stage, or do you feel like it left something on the cutting room floor that we didn't get in the movie?
[00:05:43] Speaker B: I thought it translated pretty well. There wasn't anything in particular that I felt like I was missing, except maybe towards the ending, just act two. Overall, it felt like we lost a little bit of the plot where it became kind of fuzzy and unclear as to even, you know, what broom we were kind of in. Or where we. What the timeline was, I guess you.
[00:06:13] Speaker A: Could say, yeah, no, there was. I didn't know that was because we were moving quicker in the second act or not. But, like, when they started, like, there was a lot of drops in between set pieces, and I was trying to be like, which room are we in? Are we. Are we in a changing room now? Are we in.
Are we somewhere else? Like, it was kind of confusing at times to find those pieces in that second act, because it was like, scene after scene after scene, moving very quickly through the rest of the story.
[00:06:42] Speaker B: Yeah, there were a few scenes where I was like, are these happening simultaneously? And you're just. You're panning to the next location, or is this happening over an extended period of time? Is this happening over a yemenite, you know, 24 hours period?
Which, in live theater, that's so hard to determine, because, yeah, typically, the first act, it is a little bit more elongated. You have a better idea of the timeline because they're setting that stage literally, whereas act two, you're like, and here is everything you've been waiting for in 60 minutes.
[00:07:17] Speaker A: Yeah, you're right. When you're missing the half an hour, I see what your argument is. We just need a three hour play, three hour musical.
[00:07:25] Speaker B: Yeah. You know, just tack on a couple more minutes, a couple more scenes. Make it super clear.
[00:07:30] Speaker A: There was a scene specifically that I feel I actually did get a little bit confused, and I don't remember being confused when I saw it on Broadway, but I also know that the set was different. And we'll talk about the set a little bit later. But the scene where he is singing Roxanne, which was, like, almost like a fever dream from drinking to absinthe, and then she was wearing. She, uh, satine and, um, the duke were wearing the same costumes as they went into a scene that was actually happening in real life.
And I remember thinking, like, I was like, is this still a dream? And then, like, it wasn't, because, like, they were in the setting of the chalet, the chateau, whatever they call it, in the musical, and it was like, a real scene between the two of them. And I was like, I get that you couldn't, like, change costumes really quick, but I think that that was kind of lost in translation for that aspect of the show.
[00:08:21] Speaker B: Yeah, yeah.
And because this show is so kind of, like, dream sequencing, there are so many of those moments, even where they kind of try to fast forward through those sequences, and that's where it's hard to follow. Because you're like, all right, we're slowing down. We're speeding up.
You know, am I pumping the brakes? Am I. Am I pumping the gas? Not really sure.
[00:08:47] Speaker A: And I think that kind of leads into the next question as well. Is that between those scenes, those sequences, the fast paced scenes, the slow paced scenes, is that there was two distinct tones to this story. There is the fast paced world of Moulin Rouge, which has that high powered romance between Christian and Satine. And then there's the tragedy and the slower parts and the difficult topics of being abused by a man. And those kind of are the out darker concepts, you know, dealing with death and with grief and being controlled by somebody. And while it seems like they did a really good job to balance those two, do you feel like there was sometimes that got muddled?
[00:09:36] Speaker B: Maybe a little bit?
Also, there was, as we experienced, some sound being opening night, there was some sound, maybe some mic difficulties happening.
And so some of those kind of key, maybe more tragic scenes were actually literally hard to decipher. And as someone who. Yeah, I've seen the movie, but I've never seen the stage version. So much storytelling happens in those moments, and so if you're not able to comprehend them, you lose probably some pretty vital pieces.
Sure. And so I think, you know, a couple of those scenes out on the street, it was just a little bit like, what's going? What exactly is going on? You had a general idea, but, yeah. Would have liked to capture that a little bit more, but it happens.
[00:10:37] Speaker A: There was definitely, especially during the dialogue parts. I'm thinking of the opening scene with Christian and Santiago and Toulouse, where they're. They're kind of talking like, the hills are alive scene. And then they started talking, and, like, it was all very, like, south park, like, want or, you know, snoopy, the adults. And you're just like, I know what's supposed to happen here. Yeah, but I don't know what's happening here.
[00:11:03] Speaker B: Right, right. Like, I get the general idea, but the specifics are lost.
[00:11:12] Speaker A: Is that.
Does that. You know, I know we're gonna talk about a little bit later, but I'm just gonna jump into it. Does that throw you out of the show a little bit when that happens? Because there was quite a few, you know, and I know we talked about this with different levels of show. There's a community theater. We expect maybe a little more issues with, like, mics and, like, technology and stage presence. And then there's, like, the professional touring shows, and there was quite. This is maybe one of the ones that we've had quite a. The most, like, feedback or mic issues. The second opening of the second act, the first song had, like, the big, like, one mic was feeding into another, and it just, like, drowned out everything. Cause it was like, that droning for, like, I don't, like, 15 seconds. It wasn't long. But does that throw you out of the story?
[00:11:55] Speaker B: It's pretty rare for that to occur during this caliber show. Right. And so people, when it happens, it kind of throws us off, because it does. It's. You can't ignore it, like, as much as you can try to ignore it and still very much enjoy what's happening on stage.
Our senses are on overload because there's a blasting noise in our ears. So I think it does. Of course, it's a distraction. Like, any distraction, I would say it's equal to when someone's cell phone in the audience goes off. Right. It's things that you can't necessarily control all the time.
Even though, you know, it doesn't. Doesn't matter how many announcements you make about that. There's always going to be at least one, and in our case, I think at least five. So, yes, you know, it's. It's unfortunate, and, yes, they're professionals, but mistakes happen and. Or the unexpected happens, especially with technology.
[00:12:54] Speaker A: Sure.
[00:12:55] Speaker B: And so, you know, flying by with a little bit of grace, can't completely ignore it. But also, that's the name of the.
[00:13:03] Speaker A: Game, I do think, you know, something you had said a long time ago when we kind of started this journey was, you know, seeing them on, like, the opening day or two is gonna be different than going to see it on that last week, because they're still getting used to.
They're still getting used to, like, the stage and, like, the sound and how to kind of operate and, like, get. And so that, obviously, you could see that in this one where, you know, we don't usually have a lot of shows at the Detroit Opera House, and this one was one of the first ones we've had in a while. And you could feel that, like, it didn't quite fill the room in those moments because of technical difficulties out of their hands. It has nothing to do with the story, has nothing to do with the acting, which was great, but there was just those technical difficulties. There was like, wait, wait a second. What's going on here?
[00:13:49] Speaker B: You know, I mean, I think the older. The buildings, too, like, the opera house is a historic building, and it has that type of architecture that is extremely difficult. I'm sure as a sound engineer to figure out without having done it literally ever before.
Because as you know, as someone who's had experience kind of seeing these tours come in and set up, and I. I mean, they have less than 24 hours to basically build a set, get the sound up, get the wiring throughout the entire theater, not just close to the stage, and then test it without actually any performance occurring prior to that. I mean, you test one microphone at a time, but that isn't going to give you the same effect as a full orchestra and a full stage of people on top of a full auditorium.
[00:14:48] Speaker A: So, yeah, it has to be tough when you're going from city to city. Like, you know, when you go to New York, they're in those theaters 24/7 they're so used to it by now. Even on those first couple days, they probably still maybe have some issues. But it's all worked out and it's the same house the entire time, and that equipment is going from house to house. That's. That, you know, that's kind of crazy. It's kind of like a carnival, but for theater.
[00:15:11] Speaker B: Yeah, yeah. I mean, you just think it's really the equivalency of if you go to, you know, an amusement park and they test those rides every morning, right, to make sure that they're still in working order and that everything still goes right. And even by doing that, something can still go wrong.
[00:15:28] Speaker A: Yeah.
[00:15:29] Speaker B: And so I know even on two show days, they are testing mics, they're testing sound, they're testing lights, they're testing every thing that moves prior to the show, but that doesn't guarantee that it's going to work.
[00:15:43] Speaker A: Is that slightly off topic? But I just got to know, being in a community show such as Sweeney Todd, do you still do all the soundtracks every single time. And you move the pieces and you.
[00:15:53] Speaker B: Test it all out so completely?
Not even a little? Well, not even a little.
No would be the short answer.
It does depend on the theater. Every theater has its own way of doing things, but I will say in my most recent experiences, really, we're just turning things on.
Maybe if there's some trick props or, for instance, we use a.
A blank gun in Sweeney Todd. And so that is something we practice prior to the show, obviously, to make sure it works, to make sure the person is comfortable using it and that it's show ready. Same thing for a. There's obviously utilization of a trapdoor that also gets maneuvered to make sure everything's in working order. We don't have anyone go down. It but we just test, like, hey, this mechanism is working.
[00:17:06] Speaker A: It's unfortunate that you don't get to go down the trapdoor. I just want to say that it sounds like it'd be a fun time.
[00:17:11] Speaker B: I couldn't be happier. I could not be happier, truly.
[00:17:15] Speaker A: But going back to the tone of Moulin Rouge, I do think it's really interesting how the duality of it really speaks to the bohemian theme that is running through Moulin Rouge of just, like, love, justice. You know, this. There's darkness with light, and there's lightness with dark. And I think that. That the show does capture that really well. And it's very interesting because when I was speaking to Robert Petkoff, I brought this up, and it's not many shows that you see that can balance, like, this duality of, like, light and dark. And I think Sweeney Todd is another one of those, too, where it kind of dances on that fine line of, like, we're talking about death, but we're also, like.
Like, poking fun at it, or we're also, like, we're poking fun at life, and, like, we're dealing with these dark topics, but we don't have to have such, like, a horrible time about it. And, like, at the end of Moulin Rouge, you kind of get this, where, like, after satine dies, the show kind of ends on this dark scene, and then, you know, Harold Zeidler runs out, and it's kind of like, no, no, no, we're not. We're not doing that. And, like, ends on this biggest number that began the show. And so I feel like those tones were kind of really coolly played throughout Moulin Rouge.
[00:18:24] Speaker B: Yeah. I mean, once again, we think about tragedies and we think about what the audience really wants. Right. Like, not too many people feel great leaving after a true tragedy.
[00:18:38] Speaker A: Oh, yeah.
[00:18:39] Speaker B: Like, you don't particularly walk out of Romeo and Juliet and say, like, whoa, so good. Feels so good.
[00:18:48] Speaker A: It's the. It's the west side story effect. You know, they put the. The credits at the end for the first time ever with that film because they need to know. They knew people needed time to collect themselves, and you just can't walk out of that and being like, wow, life is great. Like, it sucks.
What about the story kind of stuck out to you? Was there anything specific that you were just like, this is fantastic.
Wow, that was exciting. Or, you know, was there just anything that just. That just caught you by complete surprise?
[00:19:27] Speaker B: I don't think by surprise, but, of course, because I was familiar. Right. With the storyline, I think, of course, that kind of, like, true love at first sight ideal isn't something we.
I think, in its time, when. When the show originally was created, I'm not sure that it was super prominent in such a modern way.
[00:19:58] Speaker A: Sure.
[00:19:59] Speaker B: Like, we'd seen it in the very classical, once again, referencing Romeo Juliet, referencing west side Story.
But in this case, it's giving people coming from two unexpected worlds. Like, neither of them is mainstream, I would say.
[00:20:20] Speaker A: Sure.
[00:20:20] Speaker B: And so that is a differentiator for this particular storyline or plot.
[00:20:31] Speaker A: Is he not mainstream because he comes from Lima, Ohio.
Just kidding. To anybody living in Lima, Ohio, I'm sure it's great there. But you're right. You know, she's. You know, she's a dancer at the famous Moulin Rouge, and that, back in the day, was the equivalent of, like, kind of going to a strip club, you know? And so she was living on this dark, this darkness, and he was a. He was an artist. And still to this day, those two professions get a lot of flack from a lot of people. Like, you don't go to school to be an artist because you're not gonna. You're gonna be a barista, you know, and why would you go to, you know, be a dancer? Like, what are you gonna do with that? And so that it was a very interesting kind of play with those characters, and it is, you know, the title of my review, which is still being written, is that the Moulin rouge, the musical, does. Did make me believe in the concept of love again. You know, not that, like, I didn't believe in love, but it's just so, like, purely, like, they see each other, they fall in love, and it's just they cannot be parted from each other. And there's a part of that is. That is very, um, charming, I guess, is a good word. You know, there's. It's just very, like, it pulls you in, and you just want them to succeed so bad in their love that it makes you believe in that concept again of love at first sight.
[00:21:54] Speaker B: Well, and I think it has a little bit of that push pull that maybe that's a little bit toxic, because we.
We do. Like you mentioned, like, we do kind of. It makes us believe in love again. But it's also kind of this, like, not good looking love. Right? Like, basically encouraging a side piece. Right. Even though we know that it's love, we're calling it love. We're calling it romance and villainizing the duke, which, rightfully so, he is the villain, but applying that to everyday life could be very, very dangerous, right?
[00:22:35] Speaker A: 100%.
[00:22:38] Speaker B: But also could be, unfortunately, applicable to many people. So I can see it from all different directions, especially in modern day, because life just looks. Looks different now, especially when it comes to love.
[00:22:55] Speaker A: Right. And, you know, I do think that when you look at the duke at his court, he's an. He's emotionally manipulative, using his money for those things. So, like, we can look at that and be like, wow, you are the bad guy. But you're right. When you look at it from, like, a. If I was in his shoes, not if I was not doing the emotional manipulation, like, would people be rooting for the other person? Like, in a show like this? Yes, you are rooting for them. But that's that gray area again of just, like, in real life, it makes you believe in true love. But that is, there's a dangerousness to this. And this one, the duke is the dangerous one, but there's also a dangerous of.
The grass is always greener. Or, like, we call it the fairy tale syndrome in psychology of, like, everybody sees the best life on Instagram and Facebook, and we think, wow, that person must be living the best life. And why does my life suck? And we get into a lot of those problems because we can't let go of that finding. There has to be true love. Cinderella's story getting swept off my feet. And that's not always what love is. So I think that's a very valid point about this story.
[00:23:58] Speaker B: Well, now I'll just say, also, one of my first perceptions when the Duke first came out was that he was not what I was expecting. I'm not sure why. Maybe in the movie, I feel like. And I could be totally wrong. It has been a minute, but I feel like he was portrayed by an older man.
[00:24:17] Speaker A: He was.
[00:24:19] Speaker B: And so that also substantially changes the dynamic, because at first, when you meet the Duke, at least in my humble opinion, I didn't hate him like, I was expecting to kind of hate him and feel gross about him right off the bat, which is the way that I felt with the movie, comparatively. You have this younger and or kind of same aged man coming on. You know, he has a lot of money. But, like, once again, living in today, even, we know this. This kind of stigma around, like, chasing people who have money. Right. Like, that is very much a real thing.
And so you don't hate him for that. Obviously, we learn to hate him based off of the emotional manipulation and abuse that's happening. But really, I feel like that didn't really take place primarily until act two, which I'm sure is probably intentional. But it was way more of a conflict internally for me in regard to the Duke and Christianity, more than I ever thought it would be because of the way that that was set up. So I don't know if you have any thoughts on that, but that was one of the biggest things that I noticed immediately.
[00:25:36] Speaker A: No, I think it's a valid. I think it's a valid thought because I just looked it up. The actor who played the Duke in the film was nine years older than Christian Ewan McGregor. He was only about five years older than Nicole Kidman. But most female actresses, they play much younger. So she's probably trying to be about the same age as Christian. So think about it. 20 years ago, they're probably in their thirties, and he was clearly, he's ten years older than her. And that's a big difference. You know, you're thinking of somebody who's that difference? You can look at and be like, that doesn't feel like that's right. But our actor who played the Duke wasn't any older than the other two people. Like, he was very much. And they did play that up where he was much more smooth and he was suave and he was. You never got it. You never even really got a sense of who he was in that first act, honestly. He was just the person that they were almost bamboozling. And, like, in a way, you almost kind of feel bad for him. You're just like, oh, wait a second. Like, they're just trying to take you for your money.
And it was like, I want to say, like, mid act two, when he really just kind of flipped that switch and was like, oh, no, I'm the bad guy. I'm clearly supposed to be the bad guy.
[00:26:50] Speaker B: Yeah. I think the only thing I can think of would have been when he purchases everything.
[00:26:56] Speaker A: Yes.
[00:26:57] Speaker B: But even then, you're like, okay, well, this club is going under. This makes sense, right? Like, he is still doing good by what we want, right?
[00:27:10] Speaker A: Sure.
[00:27:11] Speaker B: But, yeah, just. Just a little sidebar there. But.
[00:27:16] Speaker A: But also, in that instance, if it was such a bad, you know, not that it wasn't a bad thing, but, like, it was such a bad thing, you think in your head, would the Herald, would he have agreed to it? And granted, there was a, there was a, um.
What is the word I'm looking for? He was desperate. There was a desperation to him to want to keep that club open.
But you'd also think of, like, you didn't have to take it if you're getting completely screwed over. And, like, so I think, like, there's where that kind of gray line is. He does kind of tell Harold, like, I'm going to control everything. I'm going to own you. I'm going to own her. It's all going to be mine.
But Harold also agrees. And, like, so you're just like, okay, so it's okay, then it's like, you're getting everything you want. Everybody's getting everything they want. We're getting, you know, Christian's getting his music presented to the world, and, you know, Satine is getting what she wanted to. You know, she wants a life where she doesn't have to dance the rest of her life. And Harold is getting to keep the club open, and he's gonna kind of still be the face of it. Like, everybody's winning in that moment. Is he so bad for being like, if I'm financing all of this, I have majority stake in it because, like, that's how business works too well.
[00:28:25] Speaker B: Right. And I'm even thinking to some other shows where I think even maybe it was beginning of act two when he takes her out to get dressed and. Right. Yes.
I'm thinking of every other show that we've seen recently that kind of has this very similar idea. I don't know. Maybe it was funny girl and or pretty woman.
[00:28:50] Speaker A: Both of them.
[00:28:51] Speaker B: Both. That have those scenes, literally a scene focused on this transformation piece based on the person that they're with. Right.
[00:29:01] Speaker A: Yes.
[00:29:01] Speaker B: So the idea is it's an age old idea, and it's usually rooted in the fact that that is indeed what the woman has been saying that she wants, or is at least acting like she thinks that's what she wants. So, yeah, once again, we don't. We don't. Even though we know it's kind of gross, we don't hate it. It's more so foreshadowing than it is, like an act that we despise.
[00:29:30] Speaker A: I was even thinking in my head, too, you mentioned those two shows, and I was like, yep, yep, absolutely. But even when we went to New York, water for elephants has that a little bit, too, where she wants to be with the elephant, she wants to be with the animals, but she's kind of playing this role to keep the ringleader, the circus owner, happy and dressing up and doing these things, but she wants to be more of the wearing the jeans and getting in the dirt and learning how to care for these animals.
But there wasn't really a scene in that, but there was those dynamics of just like you are. You have to play a role, and you're playing the role and you're changing for this person because that's what's expected of you.
[00:30:08] Speaker B: Right. I mean, at the end of the day, they're looking out for themselves. Right. Like, their psychological safety, which is bouncing off of their need for somewhere to live, something to eat, you know, all of those things, which is why it all makes sense and why we don't hate them for it. Right. Like, we don't hate the women for wanting what's best for themselves and wanting a better life, which is why we then eventually strongly despise the actual perceived villains.
[00:30:43] Speaker A: Would you argue? I'm gonna argue this, I guess, and I wanna know what your thought is in the end then with that thought process. Is Harold Zeidler actually the villain? Because he was the one that told satine, play a role, be the diamond, sleep with this man. Do whatever you have to do to get the money. And she, feeling trapped, did that.
[00:31:07] Speaker B: I think. I was just thinking about that.
I think we don't know enough of their backstory.
I think we're trusting that their backstory is so steep that this is just a commitment that they've made to each other.
[00:31:24] Speaker A: Sure.
[00:31:24] Speaker B: And that it's a mutual. I think that's maybe what's shown a little bit more in the movie than it is in the production, is we see more of the caring side of him, and so it feels less transactional, whereas in the production, it's very much like demand. Demand, yell, demand.
Not. Not really.
Like, just being pretty direct about it. Right. Like, here's what you need to do. You know what you need to do.
Do I need to spell it out for you?
[00:32:01] Speaker A: Right.
[00:32:03] Speaker B: And then there's only, like, one scene where he seems kind of concerned for her. Maybe a scene and a half.
[00:32:11] Speaker A: Um, yeah, 100%.
[00:32:14] Speaker B: You know, but it's kind of at the end of the act, does he fall under villain? I mean, I think maybe a little bit. Maybe that's a, you know, unpopular opinion.
[00:32:26] Speaker A: But I think it definitely.
[00:32:29] Speaker B: I think it's. I think it's still an, there's still an abusive relationship. They're emotionally abusive. There's a, there's an age dynamic. He's running a club. He knows what he's doing. He knows what he needs to say to make her do what he wants. And that's the manipulation piece.
[00:32:45] Speaker A: I was gonna say, because I don't, again, I don't remember the film that well. I mean, I remember it enough. I know the general gist. But I remember thinking that he was more of, like a father figure and less of like. Like a business owner. Like, he was a business owner, and he did care about that. But there was always this, like, I have a soft spot for you. You're kind of like my daughter. I took you under my wing. We're doing this together. And it does feel like he was more relegated to the connective tissue of from start to finish. This is how we book on the show. Kind of like that character in Pretty Woman who was like the magical fairy godfather that didn't really have a role, but he did have a role, and this one was a little more of a role, but it felt like they took a step back to focus more on Christian and Satine instead of making him a more well rounded character. And so I think that's where maybe people will look at and be like, wow, you're kind of a villain here. You're kind of at fault for some of this.
[00:33:39] Speaker B: Yeah. Yeah. And let's be real.
Fault can be shared. Right?
[00:33:46] Speaker A: Sure.
[00:33:47] Speaker B: Everyone makes decisions. At the end of the day, there was pressure on multiple sides of, and the story just alludes to the fact that she, satine, had no other options, so. But at the end of the day, like, some of those decisions were still hers, right?
[00:34:07] Speaker A: Absolutely.
[00:34:08] Speaker B: So everything, you know, that's where we balance it, right? That's where we justify.
Do the ends justify the means?
[00:34:16] Speaker A: Right? And, in fact, she, the moment where she finally took her own power was when she decided to perform when she was dying. And, like, that was at the end. It was like this last ditch moment of, like, I love Christian. And that was when she finally decided. There's many times, again, the time period and the storyline, she didn't have a lot of power, but there's plenty of times where, you know us as the audience can look and be like, wow, did you have power in this situation? And when she finally did, her decision was, I'm gonna do what I want and doesn't really matter anyways because I'm dying, you know, so.
Which adds a. Adds a layer to this.
I also want to make note, too. I think I told you this last night, but when I first saw the movie and the play, I thought her name was Saltine. I thought it was. She was a saltine cracker, and it was after act one in New York, and I was like, that is not her name. So that is not her name. So, satine, I am so sorry.
This is a jukebox musical, which we know that's not one of your favorites. That's not one of your favorite styles.
And we had a whole breakdown when we went to New York about what constitutes a jukebox musical. And I think that this applies to that because it is nothing but popular music from popular songs. So for you, does this effect work for Moulin Rouge?
Yes, there's a butt there.
[00:35:40] Speaker B: I can feel well, because really, I'm thinking between two versions. Right. So for those who don't know, like, the current, the version of Moulin Rouge that we saw is. I don't know if we can call it reimagined, if we can say current, if we can say that the new and improved. But it's not the movie. It is not. The music is not what you. Aside from, like, a handful of staple pieces, they have updated the production to represent the modern age and integrated those songs into the show. And so it's a. It's a little bit distracting. And even last night, there were almost every single time a new song began, there was. Laughter.
[00:36:27] Speaker A: Yes.
[00:36:28] Speaker B: Auditorium. Because I think the expectation, once again, like, me, I forgot, and I had been looking forward to this, right? Like, I forgot that this would be what it would be. And so I think people came in, some of them imagining exactly the movie. Right. Many people do that. And so to then come in and hear Katy Perry.
Yes. You know, to hear Adele walk the.
[00:36:55] Speaker A: Moon, like, yeah.
[00:36:59] Speaker B: There was a comedic. And it almost was because you're not used to. It's so cheesy. Which Moulin Rouge is like, the original is very over the top and, like, out of this world type. But because it was implanted into today's time, it felt a little, like almost two on the nose.
[00:37:23] Speaker A: Sure.
[00:37:25] Speaker B: It, like, kind of actually the. The crazy.
It's supposed to be this intense emotional moment where his heart's just been broken. And because they just basically took a pop song that typically is a little bit more.
It's got a beat. They basically took it and made it a ballad that it did still have a beat, but they turned into a ballad. And I think it was, like, almost too far where people just couldn't take it seriously because in their minds, they're just thinking of the original tune.
And same thing with firework by Katy Perry, that opening line, you know, you're supposed to take her so seriously, but all you can think of, literally, the second she starts singing, even though it wasn't the same lyric, all I thought of was, do you ever feel like a plastic bag?
And that's. That's not the thing. She's saying another verse, but that is all. I was like, we're talking about plastic bags in the middle of valid emotional moment.
So I think that's where the laughter was coming from. And so circling all the way back. Yeah. Jukebox, not my favorite, but I do think it lent itself to this production. I think there's enough of a plot, there's enough of a storyline and just enough scenes happening that it didn't feel just completely disoriented.
[00:39:05] Speaker A: There is, yeah. I thought automatically when we were in this show, I thought of our time seeing and Juliet, where people just laughed very frequently and when the one character was singing about not a girl, but not yet a woman, and granted, there was probably some laughing for other things there, which won't get into. But there was just this, like, this very serious moment, and people were giggling because they're like, ha, I recognize the song.
And Kylie, who went with us when we were driving home, she was like, I don't understand why people started, like, laughing during crazy. Like, that's, like, that's supposed to be a deep song, and it is a deep song, but it just feels so, like, almost out of place of this. Like, you know, we're telling a story from, like, I think it's the 18 hundreds, and it doesn't feel like it. Like some of this music, it does fit, but it doesn't.
[00:39:56] Speaker B: Yeah. And literally, when I think of that song, and it could depend on age. Right. Because these are a lot of this music is stuff that we have literally grown up with. Our, you know, millennials have grown up with.
Like, I think of that on a karaoke soundtrack. Like, that is the first thing. When I heard him start singing that, I said, oh, you know what? On my now 20 whatever season, that's number seven, you know?
[00:40:23] Speaker A: Yeah.
[00:40:23] Speaker B: And so. And, like, those are the songs that you wail along to with your friends, and you're not singing it well. You're singing it poorly because it's just kind of stupid and fun. Yes. And so I think that those. It is. It's. It's. It's really where your mind is at and. Or if it's what you're expecting, because if you're not expecting, I think some of that laughter comes as nerves.
[00:40:49] Speaker A: Yes, I agree with you.
[00:40:51] Speaker B: Have I ever truly listened to the lyrics of that song? Because it did go very well for what was. What the point of it was, but have I ever slowed it down to be like, oh, that's what. That is the context of that song.
I have not.
[00:41:10] Speaker A: And there was a few moments of this, like, during one of the opening songs, truth, beauty and freedom. Truth, beauty, freedom, love. When they. They start singing royals, and people really giggled at that because, again, it's just like, it feels so out of place and you're just like. And it fit the story and it was perfect. Like, when he's, like, almost speaking it, you're like, oh, yeah. Like, that's. The bohemian thoughts of, like, royalty doesn't exist anymore because we're all royal, you know, and, you know, we don't have to be royal. And, like. So that, like, worked really well.
But people still, like, were. It was like you said, that uncomfortable giggle almost of just like, what do I do with this?
But songs like elephant love medley that. The closing of act one that nobody really questioned because it was just all these love songs, and there were so many of them put together that you were just. You were just. You were catching bits and pieces, like, at the very end, when it was the little touch of I will always love you, I was like, oh, that. Like, that gave me chills. That was really cool. That worked really well. But people didn't question that one as much.
[00:42:12] Speaker B: Yeah. Yeah. And some of those being, I think, one of the most prominent ones that did stay the same was that medley. There were. There were still some new songs in it, but they. They had at least two to three, maybe four songs that were original. And so I think it kind of made it comfortable enough for people because they, you know, they were expecting your song. They were expecting come what may there. You know, so there are certain ones that they were like, oh, and this rings a bell. This is what I'm here for.
Whereas, yeah, the royals, it was especially, I think, because I think that's one of the first ones. It was just like the initial shock of, oh, oh, I see. I see what we're doing now.
[00:43:01] Speaker A: Yeah. I mean, it was so there is a song in between that a welcome to the Moulin Rouge and the one with royals, but it's the one where they're just. There's just riffing on the hills are alive with sound of music. It's not really like. It's like a miss beat and you blink your. And you miss it moment. And then we're going into royal, and that one is.
[00:43:18] Speaker B: That one's in the movie, right. Or at least partially like, that premise is when they're up in the attic or, you know, in the loft.
[00:43:27] Speaker A: So, yeah, I think people. You know, I noticed, too, that this one did have a lot of audience interaction, which we're not always used to when we go see a Broadway play again, I think it's with this music idea, but, like, starting the show off with, like, something like maybe Lady Marmalade like that. Everybody knows there's a lot. There was a lot of clapping. There was a lot of whooping. I noticed that there was this.
Do you like that audience interaction to that extreme? Because it very much felt like we're kind of part of the show, but, like, maybe not really.
[00:43:59] Speaker B: Yeah, I think it's hard to monitor those things because you have audiences who are going to be very familiar with that type of interaction, and then you're going to have folks who would not dare. I mean, they're barely clapping, right? So you have people who are hooting and hollering and standing, and then you have the people who literally are not moving. And so the crossover, like, those two extremes make each other uncomfortable. So then you're trying to find the pulse of the room. And on stage, like, they have to set it right. So I think they did a pretty good job at setting it.
Usually, if they do want interaction, they're kind of reaching out to the audience, right. They're clapping, they're kind of leaning, or their actions are mimicking what they want you to do, but very much. Once again, I did not expect this to kind of be a copy and paste of Andrew Lyette, and it did kind of feel that way. I know it's technically the other way around, but sure, even down to the fact that there was a pre show and that also prompts audience participation. Right. Because you're not asking the audience to really pay attention, but you are, at the same time, you're giving them the opportunity to pay attention, but you're not asking them to pay attention.
[00:45:31] Speaker A: Right. And they definitely warmed it up. And there's. I just set the. Set the scene for you listeners. There was sword swallowers on stage, like they were trying to get your attention, but it was in a very passive way. These dancers were coming and walking out and walking on the stage, off the stage, and they were doing slight different things, but it was all very slow building up towards the. The opening moments. And it definitely, um.
It was interesting because that was definitely like the Ann Juliet, where everybody was slowly coming out. Some of them had their coffee cups, and, like, we're talking to some of the audience members. And there was. It felt like we want you to be a part of it, which did welcome people to be like, I'm gonna. I'm gonna hoot and holler a little bit and I'm gonna. I'm gonna have a little bit of fun. Except maybe the people behind us who didn't like that it was a different adaptation.
[00:46:18] Speaker B: Everyone has their opinions.
[00:46:21] Speaker A: Was there any song specifically that stood out to you of just like, that was fantastic.
[00:46:28] Speaker B: I mean, it was all so good just because the amount of mashups and medleys and the sheer length of them were insane.
Probably some of the longest song and pieces that I've seen in recent years. And so always super impressive. And a lot of them, once again, they are power ballads. They are not. These aren't, like, gentle songs. So they're singing and dancing till they basically collapse. And it was just all incredibly impressive. But, I mean, the Ogs, your song and come what may are my. And probably will always be my favorites, just because the songs themselves, so well written.
And, I mean, it's just like, come what may is just such an epic love song that you just. It can't go wrong.
[00:47:28] Speaker A: Correct me if I'm wrong. I'm trying to pull this up, but that song, it was specifically written for the show and was not part, like, a jukebox musical cover here, um, which is totally lines up with you liking that song.
[00:47:42] Speaker B: Yep. Yep. That tracks?
[00:47:45] Speaker A: Uh, yeah. It was originally intended for the film. William Shakespeare's Romeo and Juliet Halver was first public heard publicly during Moulin Rouge in 2001. You picked the one song as your favorite. One of the songs that you picked as your favorite was one that was written for the show. So, like, just lines up. It's perfect. Yep. I do have to give credit to rolling in the deep. I thought that was beautiful, going from crazy to rolling in the deep. And that very powerful. Like, it really kind of led into so much of the ending.
I think that might have been my favorite, but I also love shut up and raise your glass just because I think that that mashup is just, like, really fun.
You can't go wrong with walk the moon and pink mashed up together.
So I do love that one. And you mentioned how active the show was.
I don't remember it being that active, but, man, they were going from start to finish. How they were not a puddle at the end is insane.
[00:48:46] Speaker B: Yeah.
I can only imagine their two show days, honestly.
I assume they utilize a lot of alternates or switch tracks or something, because, yeah, it is incredible when those dance numbers are. I mean, I think that opening number is, like. I mean, maybe even with the two or three lines in between, but I would still consider it the opening scene, like, it's gotta be 15 to 20 minutes long with minimal stopping. By the time they truly. They do the pre show and everything else is just absurd.
[00:49:32] Speaker A: So the song itself is seven, almost eight minutes long. So when you factor in everything else and the way that they kind of break it up, they're going, that's crazy. Congratulations to them.
With this being such a large cast and ensemble, was there anybody who stood out to you?
I'm gonna have to go out here and just say, satine, as we know, as we walked out of the show last night, we know. I did love Satine, a favorite, and Santiago as well. That was really thoroughly impressive. Santiago.
[00:50:12] Speaker B: I mean, like, you always have to love the leads, right? Um, sure. So I always try to think of a little bit outside of that box just because, like, obviously, that they're so good. There's a reason they are where they are, right. They're just so freaking good.
Yeah. I mean, I could echo satine. Christian vocals were just. I mean, everything was so solid.
His tone was so clear vocally.
Satine, first of all, by no shock, is she drop dead gorgeous and can dance like none other.
But the vocals were interesting to me because her tone was darker than I expected. It was a little bit deeper than I remember, and maybe, and I'm thinking it's because in the movie, her pitch is so high.
[00:51:11] Speaker A: Yes.
[00:51:11] Speaker B: Her voice and everything is so, like, waspy. And that was not this. That was, at least for me, I mean, she was still feminine and light, but there was this.
I. No other way to put this, but, like, Adele, like, quality to the tone of her voice. As we all know, Adele has those super, kind of deeper tone power ballet songs, and it's a little bit more swallowed. And that is the tone that she was giving for satine, which was a little bit shocking, just because character wise, I'm not sure that that super felt aligned. Sure, I wasn't upset about it, but it just felt substantially different than what.
[00:51:58] Speaker A: I was expecting, because when you think about, like, with Nicole Kidman being the original one, she has a very.
Her voice almost, like, floats, you know, like, an airiness to it. And then you take, you know, you think about the timeframe, too, of just being, like, what was going to get people to come into the seats? And you probably didn't see a lot of people being, appreciating that deeper voice in the 18 hundreds. You know, they wanted the. The Marilyn Monroe aspect almost, you know, of just being, like, super high. Super. The register is way up here.
But, yeah, she was very rich, very low. And something that Kylie pointed out too, is that she had a vibrato that was just, like, out of this world.
[00:52:43] Speaker B: Yeah, it was very well monitored.
It wasn't too much, which, once again, makes sense for their character. You're not expecting satine to just have a vibrato, because, once again, she's kind of lighter and airier. And I think it breaks the character a little bit because you're supposed to see her almost as this, like, fragile thing. And so if you have this kind of sturdy, deeper, stronger, I mean, vibrato is hard, right?
If you have too much of it, it can come across as, like, two powerhouseish.
But, yeah, she had a good balance. I think even of portraying when she wasn't feeling well versus when she was feeling okay ish throughout the show, I.
[00:53:40] Speaker A: Actually felt like when she started not feel better towards the end, when she had finally made up her decision what she was doing, her voice got stronger. And I thought that was a very interesting take because it's like you would think if somebody's getting weaker, they're like, they're sick. They're like, they're almost not talking. But hers was like, she had that determination of, like, this is what I'm doing, and this is my choice. This is my life. So I liked that aspect of it because I felt like it added, like a. Like a. Like a. Like a solidness to the character of, like, for the once in my life, I get to make my own decision that I thought was. I thought that was really cool, like, with her voice, that really went well to it.
Turning to the lights. I think that we need to talk about the lights real quick because we have seen a lot of plays through Broadway in Detroit.
We have not seen a lot of shows that use lights the way that Moulin Rouge did.
What did you think of that? Because there was a lot of spotlights, a lot of smoke. There was the stars, I think is a big thing too. And the different neon signs, like, what were your kind of feel? All this?
[00:54:44] Speaker B: I mean, 100% mashed, what I would have expected.
It's a club, right? So you're expecting to be dazzled. You're expecting the bright lights, the neon, the over the top, because not only are you giving just the regular stage lighting, but you have to have it really amplified by, like, ten to make it as dramatic as what's happening on stage. So, yeah, you know, the visually, the big lights, it's not like they were trying to hide exactly what was happening and what they were doing.
[00:55:19] Speaker A: Sure.
[00:55:20] Speaker B: Because it's a show within a show. Right. So I thought it was very well done, very appropriate and substantial in regard to the darker kind of. You know, we talked about those tragic moments. We talk about the lighter moments.
A lot of cool effects, I think, to the absinthe scene and, you know, even to the. To the glowing cups, the glowing props.
Like, you didn't have to do that, but it's just one of those things that pushes it to be just that much more.
And a lot of that lighting, too. You mentioned the stars, but I was. I did think about the lighting, that maybe it was during his.
When he's loading the gun, I think, and he walks across the stage, and you just kind of watch each light light up after him or in front of him, which was unique.
But, yeah, so, so many lights and special effects used in this show, I.
[00:56:28] Speaker A: Was kind of blown away with, because, again, you think of a show as simplified, and, you know, the sets themselves were simplified. They didn't have the actual elephant, which I vaguely remember there being, like, a turntable elephant for those. Some of those scenes when it was on Broadway, which I didn't expect that you expect a more boiled down show. But I was, like, amazed at, like, the way that the spotlights work to, like, in that, like, they.
Or, like, the scene where she dies and it's like this, like, you know, godly light coming down, and it looks like she's floating in to, like, the afterlife. And the stars were really cool, too, when they, like, opened up the whole scene and they turn around and they just kind of. They, like, wave and all the stars light up. It was just really cool. It wasn't something I was expecting from a tour show, but I was really glad they were able to capture that essence for the stage, because I feel like that adds to that beauty and charm of the bohemian laugh style that they're kind of talking about throughout the show.
[00:57:25] Speaker B: 100%.
[00:57:26] Speaker A: I do have to.
Will you. We have to talk about your sister real quick. Your sister went with us, and I think her favorite part of the show, and I don't want to. I don't want to. It's probably wasn't her favorite part of the show, but she loved the confetti cannons from the cane.
[00:57:43] Speaker B: Thousand percent.
Thousand percent.
I don't know. I have no idea.
Um, but also, like, it's. But that is just, like, I think the pure joy of theater, right? The pure joy of theater. Um, it. It's unique, right? So we're used to. Especially, like, she.
I'll give some context here. She was on stage at the age of six months old, literally on stage at six months old. So she has been in and around theater her entire life. So she's been around bites. She's been around sound. She's been around costumes and sets.
So really, the things that kind of maybe sparkle a little bit more are those very, very small details that maybe, you know, you might not think about at all.
And it wasn't. I don't even think it was the confetti, but rather the way in which the confetti, as we know, the way in which the confetti came out.
And once again, though, that immersive experience. Right. It made you a part of the show, which not every show does that. And just to such a high level and to such a degree. But it did make me laugh, you know, when I asked her what was, you know, your favorite part of the show? And the first thing out of her mouth was that she was amazed by these cane cannons.
[00:59:23] Speaker A: My mom, plus her soul. She finally learned how to watch the stories, and she saw them. She asked me. She was just like, so the canon, like the cane cannons? And I was like, yeah, she. Becca loved them and even made a comment at. At the end of act one, during intermission and during. At the end of act two, I actually, like, leaned over at her, and I was just like, all five of those are gonna shoot. And then they walked off stage with the cannons. And I said, oh, no, it's not gonna happen. I just lied. I just, like, broke this poor girl's heart because they're not popping off. And then they came back with them, and I was like, yes, okay, good. This is still happening because she was so excited, and that was, like, that was really cool to experience that, because you're right. When you go see so many shows, you can almost become, like, disillusioned with some of it and, like, to see, like, there's still something that could take someone who's been acting since six month, six months old by surprise is really cool. And it is really cool.
[01:00:16] Speaker B: Yeah.
[01:00:18] Speaker A: So for overall vibes, because we are wrapping this up, unfortunately, we're at an hour, but we're gonna talk real quick about overall vibes. You had mentioned when we're outside the show that you did not cry. Do you feel like the show did not have the same emotional punch that the movie did for you?
[01:00:33] Speaker B: Uh, man. I mean, act two, once again, very, very quick. Very, very quick.
And I'm not sure, like, maybe I just need to see it again.
There was just so much happening that I feel like I was trying to pay attention to that I kind of lost the love story a little bit. And so then, and that last scene is so quick. I think I was expecting a little bit more of a pause and a little bit more of a silence than we got. Even just from the timing on stage, like, it seemed very, like, shift one, shift two, shift three, rather than, like, okay, shift one, silence, shift. And. Sorry. What I mean by shifts is usually something's changing on stage.
[01:01:25] Speaker A: Sure.
[01:01:26] Speaker B: And so go ahead and use that.
[01:01:29] Speaker A: Actor lingo around us. Most of us don't know what the hell that means.
[01:01:32] Speaker B: So her death, I felt like I missed a little bit of the dramatic end. Right?
[01:01:43] Speaker A: Sure.
[01:01:45] Speaker B: But also, like, you don't want to draw that out so much because all the shows already 2 hours and 45 minutes long. So I get it. I get it.
[01:01:52] Speaker A: Sure.
But sometimes you need that beat of a moment. I'm thinking, like, granted, six is only 90 minutes, but, like, at the end of all you, all you want to do is, like, where she, like, gasps and they, like, you stop there and you're all just like, whoa, what did we just, what did we just do here? Like, what did we just witness? That moment was missing because it was all of a sudden, like, she fell to the ground. She was, you know, christian was holding satine. She dies. They pick her up, they carry her out, and it's just, like, over.
[01:02:25] Speaker B: Yeah. I think maybe what's get. What gets lost the way that that scene plays out in the movie versus the way, because you also lose the duke somewhere in the production, whereas in the movie, there's this kind of dramatic scene that's overlapping. You're overlapping her death. Right. And so there was almost, it felt like no conflict. Like she just kind of died.
[01:02:53] Speaker A: Yes.
[01:02:53] Speaker B: And he didn't seem shocked. Maybe that's what got me is, like, he doesn't know that she's sick. Right. Like, it's so for her to just literally die 5 seconds after they seemingly make up because she sings them the song. Like, that felt staging wise or, you know, script, really. It's a script thing. I would say. I wouldn't even say it's production. It's probably whatever's written in the script. But, yeah, so maybe I prefer the movie in that side.
But also, you get more emotion. Right? In movies, too. You're up close, you see their tears, you see their pain.
Stage shows, it's a little harder to see that.
[01:03:44] Speaker A: And I do wonder, and I brought this up at the end of act one. I'm just gonna say real quick, because maybe it's the Mandela effect. Maybe I'm not remembering correctly, but the fact that I checked with someone who went with me, it did not prompt them to give the answer. I feel like maybe I'm justified in this. And if there's somebody else who has seen the show very early on in Broadway, please let us know in the comments. Let us send us a message. But I remember act one ending with after the love songs, it goes to her standing there on the stage in a single spotlight. The rest of the stage is black. She coughs up blood, and she, like, almost does the gas from, like, six, and then it cuts to black.
And I was expecting that. And I actually turned to you at the end of act one, and I said, that's not how that's supposed to end.
And I was so justified in that for, like, all night until I got home to Wikipedia. And Wikipedia was like, nam, dude, you wrong.
And then I reached out to my friend, and I was like, how did the act one end? And she was like, it ended with her coughing up blood. And I think that that would have changed the dynamics. And if that did not happen, maybe that's what should happen, because what it does then is that the audience knows how sick she is. And you get more of the drama of why she made those decisions, because we really didn't see her cough of blood to almost, like, halfway through act two, it felt like. Like we were. Well, we were knee deep in act two, and all of a sudden she's coughing up blood and you're like, oh, she has tuberculosis.
[01:05:05] Speaker B: Yeah, I mean, they. They allude in her opening number, right to her just gasping. But it's the opening number, or, well, not the opening number, but her opening number. And you have no idea.
Like, you're not even. You're not looking for her to be sick, right? So you almost would not catch that in any way, shape or form.
But, you know.
[01:05:33] Speaker A: So does this have. Does this production have rewatch ability for you? Like, is this a show you would see again if you had the chance?
[01:05:43] Speaker B: Yeah, I would. I think. I mean, it is extremely entertaining, like, point blank for entertainment value alone.
Go see it. It's a spectacle, and it's supposed to be. And I think it brings something to the table for all. Well, I'll say mature ages, or at least parent. Parental advisory in regards to age, because, of course, this is a dancing nightclub.
There are risque scenes and costumes.
But in regards to the entertainment value for you, know, multi age. I think even though it might have not been the music that some folks were anticipating and or the show that people were anticipating, I think everyone walked out having a good time, which just tells me, you know, that there's. There's always more to see and more to catch every time that you see it.
[01:06:46] Speaker A: I agree. I think that, you know, when I saw it originally, New York, this was my sleeper hit of the shows. I was blown away by it, and I still felt the same way. And I felt that, like, this is one that I would go see again. I would take my mom to see, maybe.
But, like, this is a show that does give you something new each and every time you see it. So absolutely, listeners, catch it when it's on the road, catch it in Detroit for the next three weeks. It actually overlaps with our next show. Some like a hot, which I did not realize until I started planning interviews out and stuff that this does not end until the 6th. And some like a hot starts on the second so of October, which is not usually how it happens in Detroit.
So that's exciting. So get your tickets. Go see it now. Enjoy it.
Thank you for listening to another episode of the Cosmic Curtain, the official podcast of Cosmic Circus Broadway. My name is Brian Kitson, and you can find me on all the social mediasin 301.
RJ, where can they find.
[01:07:45] Speaker B: You can find me on instagram, tagged at Journey through the pass underscore.
[01:07:58] Speaker A: And don't forget to, like, follow and subscribe to us oxybabes or icosmiccircus. If you are interested in finding us outside of our box seats, please check out our social, our socials, which we already gave you. So clearly I did this out of turn, but that's okay till our next curtain call, everybody have a great night.
