Opening Night at the Moulin Rouge

Summary

History Daily Podcast: "Opening Night at the Moulin Rouge"

Host: Lindsey Graham
Episode Date: October 6, 2025
Event Covered: The opening and tumultuous early years of Paris’s legendary Moulin Rouge cabaret (Opened October 6, 1889)

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Episode Overview

This captivating episode of History Daily, hosted by Lindsey Graham, transports listeners to late 19th and early 20th-century Paris to relive the vibrant, scandalous, and culturally transformative story of the Moulin Rouge. Through evocative storytelling, Graham highlights the iconic cabaret’s birth, its rise to notoriety, key personalities who shaped its legend, and the larger cultural shifts it ignited in Paris and beyond.

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Key Discussion Points and Insights

1. Opening Night at the Moulin Rouge

[00:25 - 03:47]

• Listeners are swept into the bustling energy of Montmartre on October 6, 1889. The narrative follows a young, unnamed artist eager to witness history at the grand opening of the Moulin Rouge.
• The venue, not yet fully completed, features showy elements like the iconic red windmill and an enormous stucco elephant (rumored to contain an opium den).
• Illustration of the Moulin Rouge’s immediate draw: people from all walks of Parisian life—aristocrats, artists, laborers—mix together for the promise of spectacle.
• Despite unfinished construction and the absence of its planned extravagant ballroom, the night is a resounding triumph; applause fills the air as the first performances commence.

“All around him he hears wealthier gentlemen calling for bottles of champagne. But the young man isn’t too embarrassed. He’s just glad to be here at all and grateful he has a decent view for the show that’s about to start.” — Lindsey Graham [02:18]

2. The Birth of the Can-Can and Louise Weber (La Goulue)

[06:04 - 11:20]

• Fast-forward to October 26, 1890: Louise Weber, known as La Goulue, prepares to perform before Edward, Prince of Wales, cementing her superstar status at the Moulin Rouge.
• The venue’s high-spirited, boundary-pushing can-can dancers, especially Louise and her troupe, become symbols of both liberation and controversy.
• Vivid description of the can-can: high kicks, splits, cartwheels, and suggestive choreography shock some and delight the rest.
• Louise’s audacious personality shines; she drinks a patron’s wine in a single gulp, earning roars of laughter, then boldly toasts the Prince.

“Hey Wales! The champagne’s on you!” — Louise Weber (as recounted by Lindsey Graham) [10:40]

• The visit by the Prince of Wales (future King Edward VII) grants the cabaret royal approbation and huge publicity, even as Parisian conservatives frown on its risqué reputation.

3. Pushback and Scandal: Art, Protest, and Riot

[13:16 - 17:56]

• By 1903, the Moulin Rouge’s cabaret shows become even more provocative. Notorious acts like Joseph Pujol (“Le Petomane”) push the envelope of decency and burlesque.
• On January 3, 1907, the episode channels the mindset of a disapproving Parisian witnessing a watershed scandal: a play written by Mathilde de Morny features women kissing and cross-dressing—starring Mathilde herself and Sidonie-Gabrielle Colette (the future renowned author).
• The audience splits, with protesters heckling and pelting the performers with produce, while loyal patrons defend the act, escalating into an all-out riot as police intervene.

“But as time goes on, the venue’s increasingly risqué offerings will draw even more attention until one particular performance is so provocative that it ends in a riot.” — Lindsey Graham [11:00]

• Despite controversy, the riot cements the Moulin Rouge’s reputation as a crucible of modernity and boundary-pushing art.

4. Tragedy and Rebirth: The 1915 Fire and Moulin Rouge’s Enduring Legacy

[19:08 - 21:29]

• In the early hours of February 27, 1915, a fire ravages the Moulin Rouge. The story is retold through the perspective of Marcel Somba, France’s Minister of Public Works.
• The fire decimates the cabaret, but the iconic windmill survives—charred yet standing as a symbol of resilience.
• Seven years later, in 1921, the Moulin Rouge is rebuilt, launching a new era of showmanship and international fame.
• Its legacy endures in art and pop culture, influencing figures from Toulouse-Lautrec to modern-day Broadway.

“The nightclub was a place that pushed boundaries, welcomed controversy, and always put on a good show. Beginning when the Moulin Rouge opened its doors for the first time on October 6, 1889.” — Lindsey Graham [21:24]

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Notable Quotes & Memorable Moments

• On Opening Night:
  “The young artist doesn’t know what to expect from this evening’s festivities. All he knows is that he feels like he’s part of something special and that after tonight, the city of Paris will never be the same.” — Lindsey Graham [02:45]

• On the Can-Can’s Subversive Power:
  “Still, Louise knows that for many conservative Parisians, the can can is all too shocking. It’s not as risqué as what goes on inside Paris’s many brothels. But the sight of garters and ruffled undergarments is highly controversial.” — Lindsey Graham [07:58]

• On Royal Endorsement:
  “In the stuffy courts of Britain, it would be a stunning breach of etiquette to speak to the heir to the throne in such a disrespectful way. But in the Moulin Rouge, where the upper classes rub shoulders with commoners, those rules don’t apply.” — Lindsey Graham [10:48]

• On Riot and Artistic Protest:
  “Some are furious that the show is being interrupted…One of these patrons, a well-dressed gentleman in a private box, stands and shakes his fist, cursing at the hecklers for ruining the beautiful piece of art.” — Lindsey Graham [16:10]

• On Enduring Spirit:
  “The racy can can and risqué cabaret of the notorious night spot is not forgotten. In 1921… the legendary decadence and excess of the Moulin Rouge inspires its own stories and works of art…” — Lindsey Graham [20:47]

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Timeline of Major Segments

• 00:25 – 03:47: Opening night, 1889—young artist’s perspective, immediate impact
• 06:04 – 11:20: One year on—Louise Weber’s can-can, Prince of Wales' visit, cultural divide
• 13:16 – 17:56: 1907 Scandal—Colette and de Morny’s play, riot erupts over gender and sexuality norms
• 19:08 – 21:29: 1915 fire, near end of an era, Moulin Rouge’s eventual resurrection and legacy

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Episode Tone and Style

• Evocative and Atmospheric: Listeners are immersed in the sights, sounds, and social tensions of fin-de-siècle Paris.
• Balanced, Immersive Storytelling: Graham conveys both the exhilaration and controversy of the Moulin Rouge with vivid characterization and period detail.
• Insightful and Accessible: Deep historical context and cultural repercussions are explained clearly, making the episode engaging for both history aficionados and newcomers.

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Conclusion

"Opening Night at the Moulin Rouge" delivers a richly detailed, dramatic chronicle of the birth and evolution of Paris’s most notorious cabaret. Through lively anecdotes, key personalities, and watershed moments of scandal and resilience, the episode reveals why the Moulin Rouge remains a global symbol of artistic rebellion, pleasure, and Parisian panache.

Transcript

[Lindsey Graham]

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[Scott Reeves]

Daily plus other fantastic history [e-mail] it's.

[Lindsey Graham]

Nearly 8 o' clock in the evening on October 6, 1889. A young artist stands in the middle of an excited crowd on Place Blanche, a small plaza in the suburb of Paris. He's waiting for the opening night of Montmartre's newest open air cafe, the place where singers and dancers perform and customers have the opportunity to wine and dine in comfort. The young artist has been looking forward to tonight's grand opening. For days the new venue has been the talk of the town in no small part because of the eye catching structure Located just above the cafe's entrance, a large red windmill or as it's called in French, a Moulin Rouge. The young artist pushes his way through the crowd as a nearby church bell tolls 8 o'.

[Narrator/Voice Actor]

Clock.

[Lindsey Graham]

He reaches the front just as the Moulin Rouge opens its doors for the first time. The artist pays his fee and walks through the entrance with a flood of customers behind him. The doorway leads into a garden and there the young artist stops staring in disbelief at the larger than life stucco model of an elephant. The young artist's eyes light up when he sees a scantily dressed woman standing underneath the model. She beckons to the artist and cuts her eyes over to a doorway built into one of the elephant's legs. But the young artist doesn't go inside. He's not certain, but he's heard rumors that in the belly of this elephant is an opium den where one can smoke for as little as one franc. But the artist isn't here for drugs or women. He's here for the show. He's jostled onwards by other customers pushing past him, keen to secure the best tables in the garden with the best views of the stage. The artist joins them, makes his way to a table near the front. As he takes his seat, a waitress bustles over to take his order. With a sheepish smile, Yardis asks for a cheaper glass of wine. He'd order something fancier, but he only has a few coins in his pocket. All around him he hears wealthier gentlemen calling for bottles of champagne. But the young man isn't too embarrassed. He's just glad to be here at all and grateful he has a decent view for the show. That's about to start. As an orchestra begins to play, the young artist fidgets in his seat, too excited to keep still. And when the first performance at the Moulin Rouge is about to begin, he and the rest of the crowd leap to their feet and erupt into applause. The young artist doesn't know what to expect from this evening's festivities. All he knows is that he feels like he's part of something special and that after tonight, the city of Paris will never be the same. When the Moulin Rouge opens its doors for the first time, construction is not yet complete. Among other unfinished touches, the venue is missing its crown jewel, an extravagant ballroom located right next door to the Open Air Garden. Still, the opening night of the Moulin Rouge is a resounding success. High hundreds of wealthy Parisians sit side by side with artists and craftsmen who live and work in the bohemian semi rural suburb of Montmartre. Soon, the Moulin Rouge will emerge as the most famous night spot in Paris. Its name will become synonymous around the world with can can cabaret and controversial risque performers, a reputation the club began to earn when it opened its doors for the first time on October 6, 1889.

[Scott Reeves]

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[Lindsey Graham]

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[Lindsey Graham]

From Nozer and Airship, I'm Lindsey Graham and this is History. Daily. History is made every day on this podcast. Every day we tell the true stories of the people and events that shaped our world. Today is October 6, 1889. Opening night at the Moulin Rouge it's the evening of October 26, 1890, one year after the Moulin Rouge opened its doors. A performer named Louise Webert stands at the side of the Moulin Rouge Ballroom waiting for the emcee to finish building up the audience's anticipation for her act. As the Moulin Rouge's biggest star, Louise is used to making a spectacular entrance during each floor show. Normally she isn't nervous, but but today she's about to perform for a man who is heir to the most powerful nations in the world, Edward the Prince of Wales. A few weeks after the Moulin Rouge's grand opening, construction on its ballroom was finally complete. Now, after one year of business, the Moulin Rouge has developed a reputation for its spectacular, riotous concert balls. That's in no small part thanks to Louise and her Chayateurs, or the Unruly girls and their new dance known as the Can Can. This high energy romp involves dancers in long, flowing skirts kicking their legs into the air repeatedly before falling to the ground and landing in the splits. The can can craze has helped the Moulin Rouge sell tickets, and it's turned the unruly girls into local celebrities. Louise Verbert is the most famous of them all. Still, Louise knows that for many conservative Parisians, the can can is all too shocking. It's not as risque as what goes on inside Paris. Many brothels. But the sight of garters and ruffled undergarments is highly controversial. Rumors abound that the powers that be in Paris might try to put the Moulin Rouge and Louise out of business. But that's unlikely to happen tonight with the Prince of Wales in attendance. Like the rest of Paris, Louise knows all about the Prince's playboy reputation. It's quite a contrast to that of his dour mother, the stodgy Queen Victoria. But Louise is a smart woman. Making an impression on the prince would be good for business. So she hopes to win him over with her vivacious routine. Louise's ears prick up as she hears the MC call her stage name La Gulu, meaning the Glutton. Louise strides toward the dance floor and demonstrates the trick that earned her the name. She picks up a glass of wine from a customer's table and downs it in one gulp. Louise hears the audience roar with laughter. The dance floor is empty apart from Louise, but the tables and chairs surrounding it are packed with patrons eager to watch the Moulin Rouge's headliner perform. But there's only one patron Louise is thinking about tonight. She squints through the limelights to find the table where 48 year old Prince Edward sits with his friends. Soon the orchestra starts to play an upbeat tune and Louise begins to dance in the middle of the floor. As the music picks up speed, Louise lifts her skirt, allowing her straight leg kicks to reach above her head. She drops to the ground and then splits, one leg in front of her, the other behind, before leaping back to her feet, jumping and kicking in time with the music. She even cartwheels across the dance floor. The audience claps along, cheering every high kick and low split. Louise drops to the floor in the splits again and the rest of the troupe follow her in sequence. Each dancer splits, marked by the clash of cymbals from the orchestra. Then the dancers rise up and turn to face the middle of the floor. They bend over, pulling their skirts over their heads while wiggling suggestively at the audience. The crowd cheers every move and Louise is thrilled that they're loving the show. Next, the dancers form a circle and whirl around, lifting their skirts and kicking their legs in time for the music. Louise's billowing skirt brushes the tables at the edge of the dance floor and as she approaches where the Prince of Wales is watching the show, she kicks even higher and shouts, hey Wales. The champagne's on you. In the stuffy courts of Britain, it would be a stunning breach of etiquette to speak to the heir to the throne in such a disrespectful way. But in the Moulin Rouge, where the upper classes rub shoulders with commoners, those rules don't apply. Louise whirls onward and glances back. The prince and his friends are laughing, and once again, Louise has proven why she is the star of the Moulin Rouge. The Prince of Wales is delighted, and he leaves the club with a smile on his face, ready to tell the who's who of Paris about this can't miss experience. The Prince of Wales visit gives the Moulin Rouge a royal seal of approval, even as the club's performers and parents patrons push the boundaries of socially acceptable behavior. But as time goes on, the venue's increasingly risque offerings will draw even more attention until one particular performance is so provocative that it ends in a riot.

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[Lindsey Graham]

It'S quarter to 11 on the evening of January 3rd, 1907, 17 years after the Moulin Rouge opened its doors. Tonight, an old man shuffles uneasily in his seat as a hush descends over the crowd in the Moulin Rouge. The old man isn't here to enjoy the show. He's joined a group of his fellow Parisians here to protest this evening's performance. In 1903, the owners of the Moulin Rouge converted the ballroom into a cabaret hall. After the shift, the venue's offerings grew increasingly more scandalous. Dancers, singers and actors take part in extravagant burdens, burlesque shows. One performer, Joseph Pujol, goes by the stage name Le Petomane. He specializes in breaking wind at will. He uses his unusual talent to blow out candles and even play the French national anthem from his backside. At a recent private party at the Moulin Rouge, students from the National School of Fine Arts allegedly stripped down naked and cavorted around the stage. But to the old man, none of that compares to what he's heard about tonight's show. Part of the evening's billing is a 20 minute play that the old man has been told includes women dressing up as men and kissing each other. A scandal he thinks goes too far, even for the Moulin Rouge. Soon the curtain rises and the old man sees an ancient looking sarcophagus on one side of the stage and an actor in a brown suit reading a book on the other. The old man squints to get a better look, and when his aging eyes focus, he sees that the rumors he's heard are true. The person in the suit is a woman with short hair, Mathilde de Morny, the controversial author of this play. The old man and his fellow protesters begin to whistle, heckle and jeer, trying to drown out the sound of Mathilde's words. But she continues to recite her lines. Even though someone starts a chant ordering her off the stage. The old man enthusiastically joins in. He stamps his feet to the rhythm of the chant. As it grows louder, the sound echoes around the packed auditorium. No one can hear a word of the show, but regardless, Mathilde continues the performance. Soon the sarcophagus opens and a mummy slowly emerges, dancing erotically and shredding bandages to reveal a woman in an Egyptian headdress and jeweled underwear. It's Cydonie Gabrielle Colette, a penniless author turned burlesque performer. The old man has read about her in the Parisian newspapers too. The gossip rags say that both Sidenie Gabrielle and Mathilde have left their husbands and are now in an intimate relationship with each other. The old man sees a woman on the front row fling a wilted turnip onto the stage. It lands at Sidoni Gabriel's feet. The she just brushes it out of the way with her foot and continues dancing. But soon other fruit and vegetables litter the stage as more protesters fling items that they've hidden under their coats. But again, the two women press on with their show. The old man watches in disbelief as the play reaches its shocking climax. Mathilde bends down and kisses Sidonie Gabrielle. It's scandalous enough that Mathilde is playing a male role. Who. But the sight of two women kissing on stage is too much. And he's not alone. As the women passionately kiss, furious shouts fill the air. But not everyone in the audience is angry at what's happening on stage. Some are furious that the show is being interrupted. One of these patrons, a well dressed gentleman in a private box, stands and shakes his fist, cursing at the hecklers for ruining the beautiful piece of art. But the old man can't hear what the women wealthy patron is shouting. His words are drowned out in the uproar from the hecklers in the crowd. And some of them make their way up into his box, storm inside and throw the patron to the ground to silence him. Soon the entire club breaks out in violence. In the midst of the chaos, the old man hears a high pitched whistle. Police officers rush into the theater and began pulling people out and onto the street. But despite the riot, Sidonie Gabrielle Collette returns to perform the show the following night, but this time with a male actor in Mathilde's place. Still, the hecklers interrupt the show again and the theater owners are forced to drop it from the bill. But the riot will make headlines all across Europe, further establishing the Moulin Rouge's reputation for pushing the boundaries of acceptability. In the end though, it won't be a riot that takes down the Moulin Rouge, but rather an accidental fire that threatens to close the doors of Paris's most infamous nightclub for good.

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[Lindsey Graham]

It's five o' clock in the morning in Montmartre on February 27, 1915, 25 years after the Moulin Rouge opened. Marcel Somba, the French Minister of Public Works, rises from his bed. Although it's a Saturday, Marcel is used to early starts and long workdays, even on the weekend. He walks to the window and opens the curtains and immediately he knows something isn't right. He can smell something burning. He peers through the window into the predawn darkness and can just make out smoke drifting on the wind. Marcel runs downstairs and out into the streets. There, just five doors down, he sees flames devouring the Moulin Rouge. Marcel calls for help, and soon the police arrive on the scene. Marcel pleads with them to extinguish the blaze before the flames reach his own house. They've already spread from the Moulin Rouge to a shop and artist studio next door. Firefighters arrive and use 15 hoses to douse the Moulin Rouge, and slowly but surely, the flames died down. By 8:00 o', clock, three hours after Marcel first raised the alarm, the fire is finally extinguished. When the police declare it safe, Marcel picks his way through the Moulin Rouge's entrance. The famous red windmill has survived the fire, albeit blackened by the smoke. But when Marcel walks into the cabaret hall, he gasps. The once dazzling and iconic venue is a mess of charred brick and buckled metal. The roof has collapsed and the auditorium is sodden with wet ash. Yet the racy can can. And risque cabaret of the notorious night spot is not forgotten. In 1921, seven years after the fire, the Moulin Rouge is rebuilt and reopened. Its new iteration draws performers and customers from around the world. And although originally built to entertain the artists of Montmartre, the legendary decadence and excess of the Moulin Rouge inspires its own stories and works of art. From the paintings of Henri de Toulouse Lautrec and Vincent Van Gogh to Hollywood movies and a musical currently running on Broadway, the nightclub was a place that pushed boundaries, welcomed controversy, and always put on a good show. Beginning when the Moulin Rouge opened its doors for the first time on October 6, 1889.

[Scott Reeves]

Next on History Daily October 7, 1571.

[Lindsey Graham]

The Ottoman Empire and the Holy League face off in the last great naval battle before the age of sail. From Noser and Airship, this is History Daily. Hosted, edited and executive produced by me, Lindsey Graham Audio editing by Molly Bach Sound design by Derek Barrons Music by Lindsey Graham this episode is written and.

[Scott Reeves]

Researched by Scott Reeves.

[Lindsey Graham]

Executive producers are Steven Walters for Airship and Pascal Hughes for Noiser.

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