Moulin Rouge  is called a jukebox musical because of its use of popular music in snatches.  Some of the lines are so short, you could call it a musical sound byte musical.  It means many of the tunes are great, iconic pop numbers but sadly this encourages some of the audience to join in.  I am seriously thinking of getting cards printed which say “You might prefer to attend a Relaxed performance if you are neuro-divergent or have Autism, Alzheimer’s, Tourettes and can’t leave the singing to the cast!”

Liisi LaFontaine is delightful as the consumptive courtesan heroine – the plot of this Baz Luhrmann Moulin Rouge appears to be La Traviata meets La Bohème but was in fact the last part of The Red Curtain trilogy, preceded by Strictly Ballroom and Romeo and Juliet.   Its strength is not the story line or book of the musical with composer Christian (Jamie Boygo)  representing the Bohemian element with his musical writing partners, the artist Toulouse Lautrec  (Jason Pennycooke) and the Argentinian Santiago (Elia Lo Tauro).  Lautrec’s drawings of the Parisian nightclub scene are used in the musical as inspiration for some of the scenic designs.   You will want to see this musical for its outstanding sets and costumes.