RWB's Moulin Rouge: Can you Can-Can? I sure can Can-Can!

Notably, one of the best theatrical ballets I’ve seen so far, it was colourful, dynamic and the sets were properly used. Why was it a memorable production?

Some might think that because I’ve got a dance background I wouldn’t be critical of dance shows. Quite the contrary; I’ve seen so many that they eventually blend together and unless they’ve done something to set themselves apart from the many other performances or pieces I’ve seen of the same genre, I consider them “ordinary”. There are dance companies who constantly offer refreshing choreographies that grab the spectator’s attention and keeps it for a long time after delivery, if you will. Others have produced a few very original pieces with a extended stage-life. That’s how dance companies become “main stream”; they manage to create something that is so authentic that it transcends the dance community and reaches the masses... well, the ones who bother to go to the theatre once in a while or read the paper at least. For instance, most people have heard of Lalala Human Steps (contemporary dance troupe) and its director, Edouard Lock, of Marie Chouinard dance company or of Rubberband Dance (hip hop group from Montreal).

That being said, all of these troupes produce numbers that are still respectful of their genres, to a certain extent. Otherwise, they produce hybrids, like the circus-theater group called “Les sept doigts de la main”, which is a fabulous Montreal showbiz product, by the way. However, the hybrids are hardly categorized in a specific form of performing arts. I could elaborate on how I distinguish an "artistic" production that has reached larger audiences from a pop production; I'll spare you. This post isn’t so much about my philosophy on performing arts, but I find it important to draw a bit of background in order to explain why I’ve appreciated RWB’s Moulin Rouge.

Sure, in the tradition of ballet, it told a story and used pantomime to do so. Old school? Yes. But… might I remind you that ballet was at a height during Louis the XIV’s rule? Was there a love story and drama? Yes, there was. Were there comic reliefs? Yes. Were there pretty costumes? Yes, of course, this is ballet!

So was so different, might you ask then? It had pizzazz. There was flow in every scene, the performers were dynamic, they wore their roles comfortably, the choreography was fresh and technically clean. Even the tango inspired number was quite passionate, without losing the technical strength behind every movement. The can-can was performed traditionally but with enthusiasm and funky costumes and it managed to get the crowd clapping and all. Not something you see every day in a ballet. The men wore suits and not tights and the sets actually looked like a Parisian cabaret of the turn of the century.

I especially liked the turning windmill and the colour-appropriate skyline lighting. The storyline was close enough to the feature film, except a few minor details which were probably stage-adapted. Although, I have to say, the “falling in love” bit and the “dying” scene, were very cliché. I felt I could predict the pas-de-deux, the kiss, the drinking binge, the fight scene and the sound of death approaching... Someone please explain to me WHY no one ever told a choreographer that characters in stories, if they are to reflect “real people”, don’t dance for a whole song as they are agonizing to their death. I would really like to know. I just think it completely ridiculous. Then again, we don’t “dance around each other” to demonstrate we are falling for someone... maybe I’m wrong. I do have victory dances when I’m over-joyed... but I doubt I would dance in extreme physical pain.

"Look at me! I'm dying!"... pas de bourré, jeté..."I'm agonizing..." piqué, arabesque..."Good-bye, my love" pirouette, lunge. Yeah.

All things considered, it remains a very entertaining ballet worth while seeing. "Can you Can-Can? I sure can Can-Can! Wooooo!" :)