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why is MOULIN ROUGE! closing? | the reason why the musical is ending its Broadway run after 7 years
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As the characters themselves say in the poignant final moments of Moulin Rouge the Musical hey sister. Go sister Soul sister. Flow sister. Nope. Terrible eulogy. Let's try again. After the better part of a decade, Moulin Rouge the Musical will end its record breaking run on Broadway. But is this the final chapter of a success story? An indication of a shifting Broadway landscape amidst changing tides? Or after so many years, so many performances, so many audience members, and more can cans than I care to count? I can, can, can. But I shan't, shan't, shan't. Is this, at this point, just an inevitability? Why is Moulin Rouge really closing on Broadway? Let's talk about it. But first, a quick introduction for those of you who may be meeting me for the very first time. Oh my God. Hey, my name is Micky. I'm obsessed with all things theatre. I am a critic, content creator and theatre pundit here on social media. If you would like to hear more of my thoughts regarding the theatre industry on either side of the Atlantic, as well as all of my West End and Broadway reviews, then you can find me across social media. Or just stay tuned and make sure you're subscribed here on YouTube or of course on the podcast platform through which you may be currently hearing my voice. In the meantime, though, I have had messages and comments asking me if this was a subject that I was going to cover. And of course I am. The toppling of any long running show on Broadway is always worth talking about. So, with no further anticipation other than reminder from me to share all of your thoughts and feelings in the comments section down below, let's talk about Moulin Rouge closing on Broadway. So this news was made public just before the weekend. This was three days ago, from where I'm sitting, four or five by the time that you are seeing or hearing this and they put out a press release. The Tony Award winning best musical and international smash Moulin Rouge, exclamation point, the musical they're very specific about that will end its record breaking seven year Broadway run Sunday, July 26, 2026. And the seven years that they're talking about there also covers a period of inactivity because it dates back to the show's original pre pandemic opening in 2019. On July 25, 2019, in fact, at the Al Hirschfeld Theatre when the show opened to critical acclaim. God, remember the last time a really big blockbuster musical opened in the summer? That's wild. That's not something we've seen an awful lot of since. I wonder then if it's by design that the show will play its performance just one day after its anniversary on July 26, 2026. That in and of itself is interesting enough that we have this much warning that the show is going to conclude its run in July. That doesn't often happen. Most of the time when you see a Broadway run announcing that it's going to close, it will usually be within the month. Sometimes it's within the week. Listen, times are hard for the statistically inclined among you. We have some interesting numbers here. At the time of its closing, the show will have played 2,265 regular performances, 24 previews, and it will be the 36th longest running show in Broadway history, which is obviously very impressive. The press release goes on to call it one of the most successful Broadway musicals of the 21st century, and points out that it holds the record for the highest grossing production in the hundred year history of the Al Hirschfeld Theatre. Quantifying that remark about its success is the show's 10 Tony Award wins back in 2021. Admittedly from an interrupted season, the show itself faced relatively little competition as a new musical. Admittedly, its leading man, Aaron Tveit as the sole nominee for Best Leading Actor in a musical faced even. But it won in both of those categories, as did Alex Timbers for direction, John Logan for the book, Sonya Tyre for the choreography, and Justin Levine for music supervision, orchestrations and arrangements. The show is also said here to have opened to critical acclaim, but critical success isn't everything. Broadway is a very challenging market and the show was also very successful at the box office. We mentioned its record breaking success at the Hirschfeld, but in terms of the big picture, Moulin Rouge the Musical officially recouped its Broadway Investment late in 2022, the only musical production to so from the 2019-2020 season and the only show that opened in that season still running. And that is technically correct by virtue of the fact that Six didn't manage its opening night before the shutdown in 2020 by a number of hours. Otherwise it would exist in that season alongside Moulin Rouge. But technically that pushes it into the season that came afterwards. Six has also recouped, but admittedly had an awful lot less to recoup in terms of how much it took to capitalize the thing. In other words, it's a way cheaper show to run than Moulin Rouge and circle back to that idea. Before we do though, we have a statement from a producer as well as some consideration for the show's international success. It continues to play at the Piccadilly Theatre here in the West End. There are a couple of productions ongoingly in Europe right now, and we have some statistics about that right here. Having performs to over 12 million audience members across 15 productions worldwide, Moulin Rouge the Musical is currently playing on Broadway, across North America, on a national tour which is deeply relevant in London's West End, Germany, Korea, the Netherlands, a world tour and in non replica productions in Scandinavia and Italy. I didn't know it was in Italy. How interesting. Meanwhile, we have some words here from producer Carmen Pavlovic, who said, it's truly been the honor of a lifetime bringing this exceptional show to Broadway. We couldn't have done it without Baz Luhrmann and Catherine Martin's trust in allowing us to adapt their iconic film for the stage and for their creative guidance and generosity throughout. Alex Timber's vision and leadership, along with the passion and artistry of our entire creative team has been unmatched. We've always said that Moulin Rouge the Musical is a celebration of Broadway and of the artists who against all odds, make it possible. We look forward to six more months of celebrating the remarkable people who created this show and those who perform eight times a week. And before we take our final bow, we have more exciting announcements that we can't wait to reveal. How mysterious, how intriguing, how most likely about casting of them. The statement concludes, see you at the Moulin Rouge Chickens. And for the benefit of any of you who may not have seen either the stage musical nor the film upon which it's space that's not as peculiar as it sounds. The chickens are actually French people and the elephant, as it happens, is just a small house. Anyway, those are the details about Moulin Rouge's recently announced closure later this year. And that's the first part of this that I would like to consider is the fact that this closure has been announced so far ahead of time for July 2026, which tells us a couple of things. And there is that symmetry with when it began performances, but I'm not sure that's the entire story. As always, my thoughts are with the cast and crew of the show, everyone working inside beyond the Al Hirschfeld Theatre whose jobs will be affected by this news. Like I said, this can often happen with considerably less notice, so that is presumably a good and beneficial thing for all involved. People have plenty of time to figure out their next steps. And also I dare say a lot of people working on the show have been employed by it for a very long time. I've seen the show twice on Broadway and visited backstage on another occasion, and everyone I've encountered in the Moulin Rouge and Al Hirschfeld Theatre team has always been fantastic. So I'm personally thinking of the individuals that I know working on that show. But it is this somewhat unusual closing announcement that feels more like the elegant landing of the plane than the untimely crashing of the thing. And I think that has to do with timing as well. It would have been a thoroughly different story if Moulin Rouge had closed around January of this year, because something was very eager to make its way into a Broadway house during this current very quiet spring season. But the fact that the show isn't going to close until July precludes any other musical or play opening there and having a shot at this year's Tony Awards, the cutoff for which are at the end of April. What this generally tends to imply about a Broadway season is that you will see a lot of openings happening in the fall and then in the spring, and the timing of a late July closure does suggest perhaps at something arriving around September October time. And I dare say people are already speculating about what show that might be, and we'll have a little bit of time to have that conversation later on. But but first, why is it that Moulin Rouge is closing right now after what seems to have been a very successful Broadway run in troubling times? Is this yet another indication that Broadway.
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Is dying. Well, Broadway is currently facing undeniable financial challenges. If you've missed my last few updates about this, it would seem as though for a handful of reasons, it has never been more expensive to bring a production to Broadway, and by extension, it has never been harder for those shows to recoup their initial investments and begin actually making a profit. Moulin Rouge, interestingly enough, which it seems, was able to recoup its investment in less than two years of actual performances, allowing for the period of time when it was closed amidst the pandemic. Sort of harkens back to a recent but perhaps departed age of aesthetic maximalism and financial scale. The size of the company in Moulin Rouge, the number of songs licensed for that show, the set, the hydraulics, everything about this production seems unlikely to have been designed if it had been brought to the stage five years later. It also seems guaranteed that if the same production of Moulin Rouge were to open open now, it would take even longer to recoup its initial investment. And yet, much as we could hold Moulin Rouge from 2019 against more recent openings like the Outsiders and Death Becomes her and maybe Happy Ending in the upcoming the Lost Boys, about which I am hugely intrigued, I don't actually think that this closing notice is any kind of a harbinger of doom. Instead, what my inclination is, from an observer's perspective, is that Moulin Rouge has sort of reached the end of its own inevitable road for a handful of reasons. What I would like for us to consider is the prospective audience for Moulin Rouge the Musical. Now, the film upon which it is based was this generational hit. It was hugely beloved by a great many people, and it was inherently so theatrically adjacent, both because of its musical identity and because of what it was depicting, and because the tone of the whole thing was so theatrical and over the top and grand. A stage musical based on the film then seemed not only creatively inevitable, but Also destined for pretty massive financial success, which is what it has enjoyed since around the World. And it's for a lot of the same reasons that Disney on Broadway has been so commercially successful, or why the stars of Glee have a lot of selling power at the box office in their current stage roles. Lea Michele in Chess, Darren Criss in maybe Happy Ending. And it has to do with nostalgia, with familiarity and also with brand crossover. Lots of ideas coming together here. Let me explain. The familiarity thing is a trusted concept that producers have leaned on for a long time. And not just in the theatre industry. We also see it in Hollywood. When you get sequels made years after the original film came out, when you get reboots, when you get TV spin offs. It's the idea of taking something successful and retaining the faith and love that an audience has for that product, for those characters, for that world, and continuing it to try and squeeze more proverbial money out of that proverbial cash cow, as it were. The theatrical answer to that, often the musical theatre answer to that is to create a stage musical based on well known and well loved intellectual property. In the last couple decades, what that has looked like is making a Broadway musical based on a film. Including but not limited to the Lion King, Shrek, Pretty Woman, Back to the future, Mrs. Doubtfire, death becomes Her, Moulin Rouge the Musical and so many more. The Little Mermaid, Aladdin, Frozen, Mary Poppins, Newsies, Beetlejuice, Clueless, Mean Girls, Heather's Legally Blonde. And some of these projects begin with more of a justification for becoming stage musicals like Moulin Rouge. You know, the film has a theatrical setting, like I mentioned, it already has so many songs. There is an inherent theatrical musical language to the thing. So the stage makes more sense for it than a lot of those other projects. But it's also territory in which producers like to work. They are often looking for rights to a film that they can option in order to have it turned into a musical. Because rather than trying to build a fan base from scratch, when you announce something like Moulin Rouge the Musical, there is an inbuilt intrigue from the property's pre existing fan base. And when a show begins performances in New York increasingly at not inexpensive ticket prices, it relies on an immediate enormous enthusiasm from audiences in order to guarantee its ongoing life. Theatre is a distinct product in that way. If people don't start buying into it immediately, it disappears. Especially new musicals, especially big new musicals like Moulin Rouge. The creation of which would have already taken tens of millions of dollars. In fact, what was the Initial Broadway budget of Moulin Rouge. This is telling me $28 million, which back in 2019, gosh, that would have been a fortune. It's hard to even fathom how much that production would cost in 2026, given the extent to which so many costs have inflated. It's also the reason why productions that look like that are becoming scarce. But I digress. My point is, people for years would have headed to the Al Hirschfeld Theatre on Broadway to see Moulin Rouge the musical because they already knew that they love it. It had a sense of familiarity, and they knew what they were getting a ticket. They knew to some extent the story, the songs, and the nature of the show that they were about to enjoy. Then we arrive at the idea of nostalgia. And this is where, and we've seen this happen in the last few years, a show can succeed or fail based on exactly when it is being brought to the stage, particularly in relation to the thing upon which it is based. My point here how old is the most significant demographic of Moulin Rouge? The movie fans? How old were they when the film came out? How old are they now? How does that align with your typical audience demographic for a Broadway musical? The idea of a movie's fans aging into the generations that tend to represent Broadway's wealthiest and most prolific ticket buyers is one potential reason for the disparate success of West End shows like Mean Girls and the Devil Wears Prada, the latter of which, with a fan base that skews older and broader, seems to have sold better and survived longer. Moulin Rouge, meanwhile, has existed for longer than either of those films and has had, I think, always a broader demographic. There is a wide range of people who know this film who love this film and would be excited about the idea of seeing it on stage. Another reason as to why is this idea of brand crossover, and from an artistic standpoint, you can ask yourself the question, would fans of this thing like to see a musical based on it? Because it's not enough to just say, this is popular, let's turn it into a stage show. I dare say, and perhaps you're about to disagree with me in the comments, there wouldn't be as big a turnout for something like man versus Food or Storage the Musical as there was for a Moulin Rouge. To what extent is the story or the tone of this existing piece of media compatible with Broadway musical theatre? Obviously, for Moulin Rouge, the answer is completely and obviously and inevitably to the point that when it gets announced, audiences are not only like, what a great idea they're like, of course. How was that not already a thing? That makes total sense. I'm already buying tickets on Telecharge. It's the same reason why the world premiere run of the Greatest Showman musical has already sold out entirely at the Bristol Hippodrome. Audiences already know that it just makes sense for the stage. Compare that with something a little more left field in its adaptation, like Back to the the Musical. Now it has plenty of fans, it has existed for long enough to become deeply nostalgic, and unlike various other adjacent intellectual properties, it hasn't been oversaturated with spin offs and TV shows and sequels and theme parks. And yet that DeLorean will be coming to a halt in the next few months here in the West End and closed after a couple of years on Broadway, potentially because its story and its tone weren't quite as compatible with musical theater as a form. Meaning it did not earn the same critical success as Moulin Rouge. It didn't get all of those Tony Awards. But also, and this is the detail that producers seem surprisingly reluctant to consider in the Venn diagram of life. Or at least the Venn diagram of entertainment, are the Back to the Future fans also Broadway musical theater fans? I'm willing to say that there is less crossover in the intersection of that Venn diagram than with Broadway musicals and Moulin Rouge. Going back to the Glee point that I made earlier, people who watched Glee on TV a couple of Dec are quite likely to be people who would enjoy going to see a musical with the Glee stars in because it contained these theatricalized musical performances. It makes.
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Sense. Now. All of this explains why Moulin Rouge started very well. It doesn't explain why it's closing, and it has been grossing pretty consistently over the last few years. We see sort of seasonal drop offs and then resurgences during the busier tourist seasons of the year. We've also seen fluctuations in the grosses pursuant to how the show has been cast. In the last couple of years they have started seeming to rely on a principle of stunt casting in the theatre industry. This is when performers with broader name recognition, often from outside of the Broadway sphere, are brought into a show in order to encourage more interest enthusiasm at the box office. Come see Boy George, Come see Bob the Drag Queen. Sometimes it works, sometimes it really works, and sometimes it does not. What it does tend to be is an indication that a show is on Broadway life support. Unless of course, you're Chicago over at the Ambassador Theatre, in which case it's simply how you do business. But the Al Hirschfeld Theatre has a higher capacity than the Ambassador does and so it has more seats to fill. But not just that. The production happening on stage is so considerably more expensive. Expensive meaning there was an awful lot for Moulin Rouge to keep up with. And there comes a time, I think for any Broadway musical when you find out the extent to which your audience is finite and the whole thing is going to begin to slow down a little bit. Sometimes a struggling show can find this out within the first couple months or weeks of its lifetime. Sometimes it's around the one to two year mark. Sometimes they manage, like Moulin Rouge the better part of a decade. By which time the immediate theater going community in New York has probably had the chance of chance to see the show. Perhaps on a couple of occasions, people from around the country, around the world even have made the trip to New York to come and see Moulin Rouge the musical. Admittedly, by this point in the show's success, like we heard it, has spread out around the world. So if you are a huge Moulin Rouge fan in London and you waited a couple years, you don't need to go to Broadway because you can now see it at the Piccadilly. Likewise, if you're a Moulin Rouge fan in Cincinnati, Ohio, you might have been very excited when the Broadway production began, but a couple years down the line there's a national tour that's going to come to a theater near you. At which point the Broadway production has less of an inherent monopoly over the global Moulin Rouge fandom. And Chicago is an apt comparison here because I think they are marketing themselves to sort of similar crowds. Wicked and the Lion King are discovered by new family audiences every single day. And that's why they go on for decades and decades and decades, because there are always new audience members aging into those shows. Chicago and Moulin Rouge aren't to the same extent playing to families. What they're going for is the sexy, glitzy, fancy black and red date night vibe. Only Chicago is much more of a well known staple for tourists and like I said, so much cheaper to run. I've also been wondering if the appeal of the jukebox musical in general has been dwindling over the past few years. It certainly seems to be something that we've been seeing here in the West End. However, Moulin Rouge isn't really your typical jukebox musical, and more so than anything else, it markets itself on the success of the film and not on the recognition factor of its catalogue. Though one could consider whether the rivalry of and Juliet at the Stephen Sondheim Theatre for the past couple of years may have also pulled some audience members away from the Hirschfeld and I've always been very fascinated about what it takes for a show to go from multi year hit to long running, multi decade Broadway staple. The likes of the Lion King and the Book of Mormon did it by catering to perhaps underserved audiences. I'm talking about families and boyfriends. The likes of Wicked and Hamilton did it by becoming cultural phenomena. Is it actually possible, Disney notwithstanding, for something based so obviously on a film, a concept that Broadway often seems to reject? Look at the comparative failures of shows like Pretty Woman, Mrs. Doubtfire, etc. Is there any way for a show like that to run perpetually on Broadway? Or should we be congratulating Moulin Rouge hugely on a wildly impressive seven year run given the circumstances? That's what I think. Given Broadway's frequent distaste for screen to stage, Moulin Rouge has been nothing short of a triumph. And though its first 12 months might have seemed at the time to be extraordinarily poor timing, I think ultimately it might have helped it in the long run. Because if you were to try and open that production of Moulin Rouge today, we already said it would have been wildly more expensive, but I just don't know if it would have reached the seven year mark. For that and other reasons, I also don't think in almost any other season it would have been able to clean up quite as well at the Tony Awards. But as it stands, nobody can argue with the success that Moulin Rouge the Musical did achieve on Broadway. And I for one am gonna miss the best marquee and the best Act 2 opening number in town. But if we dare to glimpse beyond the show's final cancan, what exactly does the future hold for Moulin Rouge the Musical and for the Al Hirschfeld Theatre, which it will be vac. So here perhaps are your burning questions. What's going to happen to Moulin Rouge globally? What's going to happen to the Hirschfeld? Well, as we've heard lots of other productions of Moulin Rouge happening worldwide. I don't think a Broadway return is particularly likely for the show. It's not a cheap show to bring back into town if a theatre suddenly becomes available. But it's probably going to be very successful ongoingly, internationally. There are multiple productions in Europe. The West End one doesn't seem to be slowing down anytime soon. I think Moulin Rouge is going to have a very healthy global life. After the national tour, do we see this being licensed for regional productions? I would be so intrigued to see more non replica Moulin Rouge. It's a really rich aesthetic that you could do a lot of fun things with. I personally would love to live in a world where they license Moulin Rouge but allow people to separately license their own pop songs to put into the show. So you can have Satine sort of singing Wrecking Ball instead of fireworks. Honestly, no less insincere. Are we going to see amateur companies taking on Moulin Rouge? Are we going to get community theater can cans? Is there enough public liability insurance in the world? Actually, you know what? I can't joke about that. I did am dram Starlet Express and limbs were broken. In any case though, if you are a New York based fan of Moulin Rouge the Musical, you are going to want to try and see the show before July of this year. After which time, though it seems beyond the possibility of perhaps some renovation, we will be guaranteed to be getting a new tenant at the Al Hirschfeld Theatre, which is very exciting and I'm hearing already a lot of aspirational ideas about what could transfer there perhaps from success in the West End. I'm hearing people talking about like, where is Paddington gonna try and go on Broadway? Where are you going to go on Broadway, Paddington? He's not going to tell me. He's famously tight lipped. Well, I'm not a marmalade sandwich, but it's that an Evita that people are talking about. Where is Rachel Zegler going to be singing from the balcony? Where is Paddington Bear going to be singing about marmad sandwiches? And not to burst your proverbial bubbles, I don't think either of those shows are going to the Hirschfeld for the simple reason that this is one of a handful of venues which is owned and operated by ATG Entertainment. And ATG as a group are both venue owners and producers. And more often than not, in order to optimize their own financial success, they tend to like to put their own shows in their own theaters. We're also after a very successful last couple of years is seeing something of a scarcity for houses for new Broadway openings. One of the reasons why there are so few new shows in this Broadway season compared with the last one is because half of the last season is still running, so there's nowhere for new shows to open. And so when real estate becomes a problem, you can bet that ATG are going to retain a brilliant high capacity venue like the Al Hirschfeld for one of their own projects if they have something ready to move to Broadway. And it just so happens that they might. Because among the various regional world premieres in the US that have been earmarked as pre Broadway runs, one of them is a bio musical based on the life and songs of Dolly Parton. And so if this show is ready to come to Broadway, if it's still eyeing a Broadway run, which it seems certain to, then I would wager that the Al Hirschfeld seems like a pretty obvious choice for where that might be. And much as I've enjoyed Moulin Rouge on Broadway, I'm very much looking forward to the moment when I can walk past the Al Hirschfeld and see for the first time another show playing at the theatre. And the few years that I've been traveling to New York to go and see shows there, I have only ever known Moulin Rouge at the Al Hirschfeld. I can't wait to wave to a different show as I head to Schmeckeries. As a final little footnote, not about the future beyond the closing of Moulin Rouge, but perhaps the closing performance itself. They did mention in that statement that there were surprises to be announced and Tony Award winner Aaron Tveit has made multiple returns to the show throughout its run. I saw one of these people already asking if he's going to come back before closing. I believe he is scheduled to be performing in Chess at the Imperial Theatre through beyond the closing of Moulin Rouge. However, all involved have the opportunity to do something very, very funny. Because spoiler alert for Moulin Rouge the Musical. There is a moment towards the end of the show when Christian arrives unexpectedly in the middle the of of a theatrical performance. A show within a show. They've had to start without him and put his understudy on because he's been missing. He's been out and singing Adele on the streets like a mad person. No judgment from me. We've all been there. But he eventually does rock up gun in hand and finishes the show. Can you imagine the sound that the audience would make at the Al Hirschfeld Theatre if he were able to excuse himself from Chess for one night only in order to appear at that exact moment in the closing performance of Moulin Rouge. I sort of hope it doesn't happen, because if it does, I've now spoiled the idea. I just think it would be fun if I was a producer on the show. I'm doing everything I can to try and make that happen. I am, however, very curious about everything else that they have in store between now and the end of the run. I like that it's been announced this way that we have this much warning. People who want to see the show are going to have plenty of opportunities. Shows have been sort of extended and prolonged based on significant interest before it happened. I believe with Cats. It definitely happened with Phantom. Maybe if you'll sell out these final few months of Moulin Rouge, they might be tempted to push it a little further. Unless, of course, it's because there is a new tenant scheduled to arrive in the fall, about which I'm also deeply curious. And for more updates on all of this as the year continues, make sure that you are subscribed right here on YouTube, because I'm going to be talking about out all of it for that and more, as well as all of my theatre reviews. Stay tuned. And if you have any thoughts about the closing of Moulin Rouge on Broadway that I haven't mentioned today, or if you disagree with me at all, feel free to share all of your thoughts in the comments section down below. In the meantime, thank you for listening to this. Go and check out the Spectacular Spectacular Moulin Rouge exclamation point the Musical on Broadway at the Al Hirschfeld Theatre while you can. And as always, I hope that everyone is staying safe and that you have have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a Stagey Day. Subscribe.
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