Broadway: Moulin Rouge! 3.0

Over the past four years, Moulin Rouge! crafted a world that lures audiences back for more, more, more!

Since I originally saw the production in April 2022, I have returned to the Rouge multiple times, and have been lucky enough to see a variety of performers in the leading roles. This show continues to enchant me each time.

In the third iteration of the Broadway production, Joanna “JoJo” Levesque joined the cast as the Sparkling Diamond Satine and played opposite Derek Klena, who rejoined the Rouge as Christian the Composer, following a brief pause for another contract. Ricky Rojas also rejoined the cast as Santiago, after taking a final bow with the company in May 2022. Sophie Carmen-Jones reprised her role as Nini, joining the Broadway company from the West End. David Harris and Andre Ward also have reprised their roles from the North American touring company as The Duke and Toulouse-Lautrec, respectively.

While I have covered a lot of the overall production elements, such as costume design, set design, lighting, and choreography, in earlier posts from April 2022 and July 2022, here I’ll mostly focus on the casting changes and how this company works as a unit to bring audiences to the Moulin Rouge in Montmartre.

What is notable about this production is how enjoyable it is to revist—there’s always more to watch and details you miss the first time around. The overall visual stimulation is amplified by a variety of key players, who each play their roles their own way and make the experience a little bit different each time. I think this show is largely easy to enjoy again and again because of the small tweaks and changes each performer puts on their characters.

JoJo brings bite to Satine, easily fitting into this company as their leading lady. She would be what I consider to be a stunt cast — as JoJo is primarily known for her pop music and work outside of the theater. While there was a lot of skepticism from fans about how JoJo would fit into this role, I never doubted for a second that this was a smart move on Moulin Rouge’s part. The score is essentially embellished pop songs, and who better to take on the challenge than a pop singer herself. She had wonderful chemistry with her costars, and perhaps notably an underrated chemistry with Eric Anderson’s Zidler. When we think of Satine, we think of Satine and Christian or Satine and Duke — But there is power in the relationship between Satine and Zidler, and how they lean on each other. JoJo was the first Satine I’ve seen who really tapped into that relationship, and it was wonderful to see that tenderness among the moments of high-stakes love affairs. She also smashes the score, and overall roots herself as one of my favorite Satines I have seen. Her “Firework” was incredible, and it was so fun to see another pop singer take on this score.

Derek Klena returned as Christian, and seemingly took a bit of a new spin on the character. I have always enjoyed the nuance he brought to Christian, tapping into the softness behind the stars in his eyes. Klena also taps into the heartache of a broken artist in a way that will have audiences tearing up in their seats. Upon his return, he took a fresh look at the character once again, which made it such a journey to watch all over again. He knows how to balance Christian’s lovesickness, and his dark twist in the second act, and it had hearts pounding. His performance was phenomenal, and it is incredible to think I was so lucky to witness it. Of course, it goes without saying his “El Tango de Roxanne” is the showstopping number, and is still one of my absolute favorite parts of the show. His onstage chemistry with JoJo was incredible and it is a joy to witness performers embrace their roles the way Klena has.

David Harris was an unexpected favorite of mine. I am typically not a fan of the duke, and have some complicated feelings about some of the changes that were made to the character between the film and the Broadway production. However, I do think Harris might have won me over to appreciate the changes made. Harris naturally fits right into this production, balancing the line of being debonair and bone-chilling. “Only Girl in a Material World” is one of my favorite numbers from a design and choreography perspective, but Harris really puts the chill down the spine on this number. I think it’s only fair to say this part was meant for him.

Sophie Carmen-Jones brings a certain sharpness to Nini. I particularly love to watch Nini on stage because I love to watch her choreography. Her on-stage chemistry with Ricky Rojas is so fun, and I loved her in “Backstage Romance.” It was also fun to watch her play with JoJo and the relationship between Nini and Satine.

Andre Ward also brings a certain paternal energy to the stage as Toulouse-Lautrec. Every Toulouse-Lautrec I have seen has played a little bit differently with each Christian and I really enjoy when he’s played with a bit of paternal edge towards Christian. Klena and Ward play wonderfully together as bohemians. I also enjoyed his performance with JoJo, and playing with the dynamic between Satine and Toulouse-Lautrec. Ward gives a performance that is fresh and wonderful to watch.

Eric Anderson brings a charm to Harold Zidler that I was not expecting. The previous times I had seen the show, I saw an understudy in the role, so it wasn’t until JoJo joined the cast that I also got to see Anderson shine. I have to say his Zidler is a lot of fun and just adds to the camp of the production. He’s wonderfully silly and rightfully at the helm of the Rouge.

While JoJo and Derek Klena have concluded their run at the Rouge, you can catch the rest of the cast along with Courtney Reed as Satine and Casey Cott as Christian.