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[0:00] Jeff Malone: Welcome to Half Hour with Jeff & Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances, storylines, and everything in between. In today's episode, we discuss the Broadway production of Moulin Rouge, playing at the Al Hirschfeld Theatre. Whether you cannot catch the show in person or you want to expand on your thoughts after seeing it, this episode is for you. And as always, we want to inform you that this episode will contain spoilers, so if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:28] Richie Grasso: And I'm Richie. We're thrilled to be your hosts for this episode, but before we start the conversation about Moulin Rouge, here are a few words from our advertisers.

[0:43] Jeff Malone: Welcome, everyone, to a new episode of Half Hour with Jeff & Richie. Today, we're discussing the Broadway run of Moulin Rouge, and it's celebrating its 5th anniversary on Broadway. Moulin Rouge, the musical based on Baz Luhrmann's revolutionary film, comes to life on stage, remixed in a new musical mash-up extravaganza. Directed by Tony Award winner Alex Timbers, Moulin Rouge the musical is a theatrical celebration of truth, beauty, freedom, and above all, love. With a book by Tony Award winner John Logan, music supervision, orchestrations, and arrangements by Tony Award winner Justin Levine, choreography by Tony Award winner Sonia Tayeh, Moulin Rouge is more than a musical; it is a state of mind.

All right, so just so everyone knows, we did see Moulin Rouge five years ago when it opened, and now we have come back to do a full episode since we did not have a full episode yet on our podcast list. That's because we didn't even have our podcast in existence five years ago. So we did see the original Broadway cast five years ago, we never did a podcast, now we're here today. Back, we just went to see the show again for the five-year mark, and now we're here doing our full episode. So we're going to do what we always do. We're going to give our hot take on Moulin Rouge. And actually, I think I'm going to go first. Great. This time. Listen, I think that Moulin Rouge has a lot of fun energy, and has definitely become a tourist trap. But I'm going to stand my ground and say I am a diehard fan of the film, and I just like the film a bit more.

[2:08] Richie Grasso: Wow. I might have to disagree with you a little bit, because I think that this musical really does a great job of highlighting the movie elements, but adding its own elements. Not to mention the extremely well, what I think is some of the best choreo on Broadway right now. Design is insane, insanely wonderful. And I just think overall, this is a very good show. I really like it. I do really like this. I think I like it a little more than you. Which is okay, we're going to talk about that now. But I think it's a great show. We're talking about overall plots and concepts. Listen, for those of you who don't know, this is one of Jeff's favorite films. He's seen it multiple, multiple times. Actually, when I first met Jeff, I don't know if I had even seen the film.

[2:57] Jeff Malone: You did your I've seen bits and pieces.

[2:57] Richie Grasso: Yeah. So we sat and watched it. And listen, talk about the film just for a quick minute. The film is iconic. The film works. The film is musical theater-esque. It's got film-esque moments. It was riding on the heels of the time when Chicago movie was coming out and the movie musical was kind of resurfacing at the turn of the century. It does wonderful things. Ewan McGregor and Nicole Kidman, like, of course, like, yes, it works, right? I always forget. Didn't they come out in the same year? Chicago? And I think they were very similar, but I don't think they both were 2001. I find that, you know, it's a wonderful celebration of this iconic place in France. And I think there's just some wonderful mashup musical elements that I like that the musical came to Broadway and kept some of the film moments because it did, right?

Of course it did. It kept some of the stuff from the film, and then it made it its own. It didn't exactly replicate it. And that's what I think I appreciate the most of this. Just from a concept perspective, I think this musical said, let's keep that. Let's change that. Let's do that. Let's edit. Let's fix. Let's clean. Let's do. And it got creative, and it didn't get messy to me. I don't know. I think this works. I'm sick and tired of seeing these replication, movie to stage, movie to stage, exact replication. So I don't think that's this. And I like that about this.

[4:14] Jeff Malone: I think my issue is, and we'll get more into it when we're talking more specifically about the actual production. But I think my issue was with this musical is that the plot of the storyline here in the film, in its order that it was given to us, worked so well already. And now in the musical, we have a different kind of narrative happening throughout the plot. And maybe that's done purposefully. I'm sure there's something out there that I could read about why things were chosen to be introduced to us later in the musical versus when it's happened in the film. But my biggest issue with this is it's supposed to be about them telling their story, like he's telling the story of them. And we don't really find that out until the end when she says, like, let's tell and go and tell my story.

And I just don't know why. And I hate to say this, because I've been so not it about the narrators this whole season. But why that was not introduced at the very beginning, it gets such an important factor to set this whole story up, like he's telling the story. And instead, we start with going into the Moulin Rouge. And I don't really know what that happens. I get it. It's the whole like, bring you in, the Moulin Rouge is kind of already happening. So we're getting the opening number, but it just doesn't work for me. I was able to I find that the plot in general moves very slow, because you have these huge musical elements. And that's kind of an ode to old musical theatre and old vaudevillian where like, in the Ziegfeld Follies days, it wasn't much about plot, it was more about like the moment of the song than the moment of the song than the moment of the song.

This kind of mimics that a little bit, of course, there's a plot, but it's not like a fast moving, whoa, I got to pay attention. Why did that character do that? It's kind of a general we understand what's going on. The plot, I always find Act One's plot specifically moves very slow. But there's so much pizzazz. And that's the point of this is the Moulin Rouge is about the pizzazz, right? So I think they highlight that really well. But and I think just like from a setup, I think maybe things were rearranged because they wanted to have more of the traditional things happening in we have the big opening number, we have the big Act One finale, we have the big Act Two opening number, and then we have the big finale at the end.

And maybe that's why it was rearranged that way. That's why they wanted the like elephant love medley to be the closer of it. I mean, it happens a lot earlier in the film, which I get. And then like, my other big plot issue is like we jumped so far ahead into Act Two, and we don't get any of their love story actually happening. Because there's so many other problems going on, right? Right. But this whole thing is about them, which is my biggest issue. It's like we're supposed to find like, they don't love each other immediately. And in this they love each other immediately. You know, like he has to win her love. She has to figure out like that she loves him. And instead, it's like, okay, they kiss already. And it's like, that that's the miss for me.

[7:13] Richie Grasso: Okay. I mean, I hear what you're saying. And I also feel like there's some filler plot or this filler characters. There's just some filler moments that make this a big Yeah, I don't. Listen, if I'm looking at Moulin Rouge, the musical, I'm not going to say that maybe the book is the strongest part of the whole thing.

[7:28] Jeff Malone: But for me, it is. But but your film, the film is.

[7:34] Richie Grasso: Oh, okay. Yes. I'm talking about I'm saying I'm the adept when I look at this whole stage production, I wouldn't sit here and say the strongest part of Moulin Rouge on Broadway is its book. And I think it might have one book I want so many Tony awards. I don't remember which Tony award I want for that. But I do feel like there's so many other stronger things that this I'm okay with saying okay, the plot changed fine. I'm okay with that, for the sake of what is being made up in other departments, if that kind of makes sense.

[7:59] Jeff Malone: Right. But when it comes down to the book, if the book was really strong in the film, why was it changed to not be strong?

[8:06] Richie Grasso: Well, then let me ask you that. Let me ask you this question. If Baz Luhrmann was like, a okay with all of that, then are we supposed to be? Are you supposed to be okay with the changes? Because Baz was, you know, I don't know. I don't need to be right. I'm not gonna bow down just like, listen, I think the film is an iconic film. So and I love it. I'll watch it all the time. And Ewan McGregor and Nicole Kidman are that couple. It's like they're very hard to get to match that energy that they brought to that those both of those roles. So, you know, I just think it's Yeah, I mean, that was just the miss for me. And like, because we never did a podcast episode on it. This is why I wanted to kind of go deeper into it now on my actual feelings. And I have had many conversations with a few people that also are big diehard, you know, lovers of the film that all say the same thing. Like this was not the musical that we wanted.

[9:00] Jeff Malone: Yeah.

[9:00] Richie Grasso: And what we got. But we can now move into the actual production elements, I think here because I think there's so much to talk about. But before we get into it, here are a few messages from those that make this show possible.

[9:11] Jeff Malone: Okay, I think there's a lot to talk about here in the actual production because there's this is like a high value production musical. So let's give it that well, from a direction, choreography and design standpoint, before we get into actor performances, it one director and choreographer, I believe, and it's totally working. The seamless energy of moving scenery from scene to scene is full. I don't know where they fit all that backstage. I actually, there's a few shows that I sit, Aladdin is one of them, where I sit and I say, where does all these set pieces? Yeah, like, and I look at Moulin Rouge, I say, where is all this coming? Like, it's all built into a small stage. I mean, these Broadway houses aren't that big with the wings. But it's just amazing to see the design flow, the costume flow, the direction of this. And I still stand by what I said earlier, I think it's some of the best choreography.

[10:04] Jeff Malone: Currently on Broadway. Do you want to know why? Because it's this incredible hybrid of like Fosse, of vaudeville, of hip-hop, of Broadway dance, of like music video. Like there's this insanely gorgeous, like clearly the choreographer didn't say, okay, this song is going to be the music video hip-hop song. This song is going to be the Can Can vaudeville song. This is going to be the Fosse. It was like, no, no, no. All of those elements were wrapped into every song. And I'm blown away by how extremely well choreographed this whole thing is from a director choreographer lens and a design lens as well. I will just say, you're using costumes from all periods, which let me tell you something, could have been so messy.

You pull costumes from all different areas. It could have looked like you threw paint on a canvas and hope it looked good. And instead, this was like, no, it was so, I, those Can Can dresses are gorgeous. And then they're in the corsets and they look great. But then at the end, when she dies, everyone comes out in these Dickens-esque Victorian hats and gowns in this like gorgeous burial. I just think like it's really, really, so many costumes and the scenery is not like, whoa, this is too many colors. Like it's all highlighted nice. And it's lit really well. The sound design is incredible. I just think it's high, high, high level design from a whole team that worked really well together. That's my strongest part of this whole thing.

Well, I love the design of this. As soon as you walked in, you were like blown away. Even the first time we walked in five years ago to see it, we were like, wow, this is so immersive. And it was like what Alex was really doing, especially with Beetlejuice as well and Moulin Rouge. And we see it and then here lies love. It's like, you know, when you walk into an Alex Timbers production, it's going to be over the top and fully immerse you as soon as you walk into the space, which is great. And I love that. And we're not always going to get that from everyone, but I know we're definitely most likely going to get it from him. I don't know if we really got it in Gutenberg, but you know, but either way, the inspiration of taking the beauty from Baz's film and bringing that into the set was definitely there.

And I love that the hearts, the cutouts, the design, the French looking style and, you know, bring it in, bring the windmill, bring the elephant. We needed it. So it was great to have all of those pieces there. And going into the choreography. Yeah, I mean, it is some of the best that we're actually seeing, right? It really is. I mean, I just we just watched how many shows in a new season and not to compare this to Water for Elephants. But if I'm going to make a comparison about like a circusy-esque spectacle show, which is I know so different. So don't read me on like that. I know these are not the same. It's not a circus. But with Water for Elephants, I felt it was like walk on stage and then like pause the plot and like show us some acrobatics and then walk off stage and continue the plot, which I found the direction of that to be poor.

But with Moulin Rouge, it was like this immersive choreo mixed with scenic, mixed with we're in the Moulin Rouge, then we're choreographing outside in the dressing room. And it just immersed and it flowed. It just seemed to all flow so nice. I don't know. It takes a lot of work to make something work like that really well. And I don't know if I had to say my favorite production moment in the whole show, because we're going to go on to actors in a second. The act two opener of Toxic mixed with, oh my gosh, I'm forgetting the other songs. A Bad Romance. Yeah. It is incredible how they're doing the duet, the Nini, and then into Toxic and they're circling and they're spinning and they're lifting and they're moving. And I'm like this. I think it's my favorite song in the whole show. Out of all the production, which are all so good, that act two opener is insanity.

[14:08] Richie Grasso: Well, it's a cool thing to look at and compare the film and this musical and how they brought more pop music into and rock music and all different genres, because that's what they do into this more modern version. You know, so many different artists have come out with music since the film and now have been included in here from, you know, Katy Perry's Firework to Lady Gaga's Bad Romance to even Outkast's So Fresh and So Clean. I mean, it's like, it's so cool to kind of see that. Did I think all of it was necessary? And why were some things removed? I know there's a whole things that are like, it comes down to rights and whatnot. But I thought it was my favorite number as well. I don't know, there's something going on in that choreo that I'm like, how are you all doing this?

Like, I would love to have been a fly on the wall of like, how did this staging and choreo sessions of rehearsal occur? Because it's just like, so, there's so many good songs in the show. The Adele, Rollin' in the Deep is a great moment. I mean, there's just moments that are just... And I also love the Shut Up and Dance, Razor Glass mashup. It's so funny, because like, that was always my like, DJ thing at weddings to do. So when it happened on the stage, it was so funny. But you know, and I guess that's where someone could argue with me what I said earlier about when did they start falling in love? And they start falling in love during that dance. But whatever. Yeah, I the orchestrations in this musical are out of control.

I mean, it's... Out of control. They're just in that orchestra is working. And I wish we saw them like this would have been a show that I would have loved to see them. I know like with the these shows like and Juliet and this like, they're kind of hidden, they just kind of come out the underwave. But then these are the shows that I would love to see a band because they're just so immersed and part of it. But I understand that. But you have moments in the music that they know how to get they entice the audience by getting them started to get into the song, you get all of the people that are like, Oh, that's that song, you know, it's like that moment. But some of these, you hear the harmonies though, within this cast, and you hear the duets, and you hear the different things happening. And you're like, Oh, wow, I would have never thought mashing this up in that part, having these people sing this part, having these people sing here, and it just like, works.

[16:28] Jeff Malone: Yeah, totally. And going on to some actor performances, we want to just highlight some people that we saw. So we saw Jojo, Joanna Jojo Levesque. Yeah, as a teen, I listen, I'm not trying to compare it to Karen Olivo, or anyone else has been doing it. But Jojo is, this is a star. Like, you know, when I say that, right, like, she is living up there, the acting, the singing, I am so impressed with her, I don't really know her too well as a pop star, I know some of her big hits. But like, she is really committed to this role. And I was blown away by her. And I think she's doing some of the best stuff right now. That was going to be my big question to ask you, like, what did you think from a vocal level?

Very, nothing was strained, everything sounded healthy. She was belting, and then she was head voicing when she needed to appropriately. She was got a beautiful vibrato, nothing seems strained. And I actually thought when I was listening to some of the songs, I was like, Oh, she's she's giving a little Broadway. And then she also was tying in the right amount of like, I'm a pop star, too. Don't forget that. And you know what a lot of pop stars do even on Broadway, I will say when I see pop stars on Broadway, they close their eyes and internalize, which is like a very like, Ariana Grande is an example of someone who she closed her eyes and sings. But when you see Jojo not doing that, it makes you realize Oh, yeah, you because you can't just internalize and close your eyes every time you sing like you're on a pop concert.

She didn't do that. She was looking out, she was singing, I was with watching her facial reactions to things. Not to mention, she just looks gorgeous in the in the gowns. She really does look gorgeous. I was like, Oh, come on, Jojo. Let's go hot. But also one thing I was gonna say, I actually didn't mind the acting. I thought she could she she was bringing a little Nicole to the role. Totally. She was finding a little bit of the hardness that the role sometimes needs, but also part of the like vulnerability that like, really needs to come through as being Satine. Like, hey, I can fall in love with you if you want me to.

[18:30] Richie Grasso: Totally. And then we go to Aaron Tveit, because we saw him in the original. And now we're five years later seeing him again. I personally think he has matured nicely in the role. I think he's great. He sounds so good. His vocals are there were some harmony moments with Jojo and I was like, Oh, they're right there. Tight, tight vocal duets. I know you might have a slightly differing opinion on his acting. I am not trying to compare him to Ewan McGregor. I am trying to look at this from a different lens. I really like Aaron. I don't mind him. I think he's doing a nice job. I will not on this podcast, compare him to Ewan McGregor. So don't worry, I will not do it. I listen, my biggest thing, my issue with him playing the role, he can sing.

And we know he can sing like that's not the issue. But there's something missing in some of his performances. It's very like, one note, I feel throughout the whole thing. He doesn't build a character, he doesn't sell us on the character always, but he can vocally powerhouse through that role. There's no doubt about it. What I need from this role and I'm not going to compare it to Ewan McGregor. I'm just saying the role itself is sold on love. And he's a salesman at the end of the day to sell Satine the idea of love and to be in love. And I never really get that coming across from Aaron playing the role. Okay. I never really find that he's in love with love that he wants to be in love that he needs love the way that like, it's a

[20:39] Richie Grasso: As Harold Ziedler, I thought Sophie Carmen Jones with Zini was incredible. I don't know how she's doing that eight times a week. And the other, everyone was really strong. Those were just my highlighted standouts. I thought it was a nice cast that's clearly working really well together. And from what I'm hearing, like everyone's saying that this is probably the strongest cast right now that has everyone who has played the roles, whether they've come back or this is their first time in the role, that these are like kind of everyone's favorites. So that says a lot too for Erin, in my opinion, that like no one else has really done that role well. And I think this is more on casting. So I would love to know why certain people go into this show versus other people.

Anyway, there's some still still still rooting for Vanessa Hudgens to play Satine. Oh my gosh, I see that I she should because I love her, right? I think it would work. I think it would work. We got to find out where she is and what she's doing. She's I think she had a baby. I think she's having a sneaker night. I had to do it because that's my favorite. Okay, listen, we're going to transition now to our experience of the show, the show's impact and some updated Broadway news. But before you do that, let's go get some messages from our sponsors.

[21:57] Jeff Malone: All right, we're back. So overall experience of the show. It is a machine show. It is a little tourist trappy. I feel like I was maybe literally I feel like I was maybe the only native New Yorker sitting in that theater. Because we love the tourists coming. Oh, yeah, keeping Broadway alive fully. We know that the closest stop having their conversations during the show. But I had to shush someone at some point because they would not stop talking during the show. People need to be reminded you're not in the concert. You're not in the movie theater. You shouldn't even be talking there. You're not in your house watching TV. You got to stop talking, especially so hard. You're trying to hear the dialogue and you hear like, yeah, behind you. Anyway. And listen, the show is really well.

[22:36] Richie Grasso: Yep. Yeah, my overall experience is like, it's the energy in the room is still there. Also, partly though, I think some of the energy though, has died down from the audience though. I don't know if you felt that the audience is not like, whoa, whoa, whoa, freaking out, cheering at the end, like on their feet, like, you know, I will also say just having this casting of JoJo and Aaron back in the grosses went up like 300,000 or something in just one week. So it's clearly doing really well. It's going to be around for a long time. There's I think a production in London, but there's international and national tours. The show I also can see schools doing this one day, maybe in a more PG rated version, but I think they do Chicago and they do there could be a high school version of this where like, it's all about ensemble, you know, getting a lot of your students involved. But I think it's really, really, really strong stuff.

[23:30] Richie Grasso: One thing I kind of wanted to bring up on this though, is I when we were leaving the theater yesterday, I was kind of having a little thought to myself like, and we're walking down what is that 45th? 44th, something like that. The Broadway road that every Broadway theater is on. And everyone's getting out at the same exact time. So it's a nightmare. But you see all of these people and I'm like, Oh, Broadway's really alive. Like I everyone keeps saying Broadway's dead, Broadway's dead. I'm like, No, Broadway's really alive. And I thought to myself about something. And when we really go down through the history, I feel like that I would love for someone to kind of find a season, a Broadway season that really had many shows that lasted a while after from the same season, because what I'm starting to realize, and when I look at this, and we kind of always say this, I feel like we get one to two shows that really become staples in the Broadway space.

In many past seasons of Broadway, there would be a couple new shows. And there were so many long running shows. This season, there was so many new shows, and most of them stuck around. Now, does that mean they let it get past 2024? I don't know. But there's a lot sticking through the summer. And a lot of these shows are pulling in almost a million dollars a week, a lot of them, even even like long running shows from a few years ago. So it's definitely booming. Like, you know, we know that a lot of clothes but I mean, but I feel like what I'm trying to say is, though, I don't think people realize how many shows from the season are still running. And they are talking more about the shows that all close this season.

There's no way 40 shows that open in one season are going to last with all of these other shows that are also currently running. So it's like, I feel like we're going to get our staples. And guess what, we're gonna have a ton of shows next season, too. They're not all going to stay open everyone, a lot of people are going to go see them. And we're probably going to get like maybe two or three that you might also see everyone going to see eight new musicals, and then does the notebooks and the water for elephants to the some of those start hurting or softs or outsider, you know, I don't know, maybe then one of those starts falling to the ways, who knows?

[25:41] Jeff Malone: Right, they might. But you know, when you start having like the outsiders is doing really well, right? It won the best musical, it's probably going to last a few years, right? And will become a staple in the Broadway space. You know, other than that, I don't know what else from this past season, maybe stuff might last a little bit longer. Once this political climate keeps going on and on. But, you know, I just thought that was a big observation that I was seeing yesterday. Because like Moulin Rouge, now I would say is officially a staple in the Broadway space. It's been running for five years, you put it up there with Aladdin, Wicked, Book of Mormon, even when Phantom before Phantom closed those like Chicago, those long running shows, and I'm sure Moulin Rouge is going to run for 10 more years.

You know, it's just one of those things now where people it's known number one. So when you come and you're like, Oh, I need to see a Broadway show, you're gonna go see Moulin Rouge. It's like part of that now if you've already seen the Wickets, the Lion Kings, the Aladdins.

[26:39] Richie Grasso: And speaking of Broadway news, we did have a couple of little bits of Broadway news come into the news circle this week. We had additional casting announced for McNeil, which is Robert Downey Jr. coming this fall at Lincoln Center. We have Melora Hardin, Andrea Martin and Ruthie Ann Miles in this and there's also going to be an AI version of Robert Downey Jr. with Robert Downey Jr. Something really exciting to kind of see. Yeah, I don't know. Yeah, I will see. But what do you think of those three women joining him in the show?

[27:03] Jeff Malone: Oh, Andrea Martin on stage again. I can't wait. I'm obsessed with her. But also it kind of like, is it serious? Is it going to be comedy? I mean, she usually does comedy. I don't know. I mean, it could be serious, though. Who knows? And you know, I probably haven't I didn't really watch the office for to really know what Melora Hardin is like, but to see Ruthie Ann Miles on stage again, I can't wait. Love, you know, last we saw her in Sweeney Todd. Oh, no, she was here. Let's love. No, she was not. She was Sweeney Todd. And then she was Oh, well, King and I Tony Award winner, you know.

[27:39] Richie Grasso: And then the other little bit of news here, the Queen of Versailles starring Kristin Chenoweth will not be coming this upcoming season. It is currently doing out of town in Boston, but it is coming in the 2025 2026 season. So look at that. We already have things lining up. There's way too many leading women in a musical potentials this year. I think those producers are very smart. If they even want a best book or a best score or about it, Stephen Schwartz, we haven't seen a new Stephen Schwartz musical score since Wicked. So like, I think if they want to kind of get a best musical nominee, they really want a chance of it. Put the brakes on, go do some rewrites, go do some workshopping on it if you want and come back and bring it back when Kristen has a much better chance of winning, not in the season where it's Sutton and it's Audra and it's Idina and it's Nicole and it's just it doesn't stop the list of women.

The list goes on and on. And so like, listen, the next season is already like I'm sure that's when Devil Wears Prada will come if Vanessa Williams comes with it. I'm sure that's when Empire Records might come with Lorna Courtney. You know, I think there are things are already starting to pile up for the following season. Not to mention the seasons of just limited plays and just like it's the Broadway world is always moving and moving. Love it.

[28:44] Jeff Malone: Love it. Well, we are getting ready to wrap up our discussion here. Final thoughts on Moulin Rouge's five year anniversary performance, Jeff.

[28:50] Jeff Malone: Final thoughts are congrats on Moulin Rouge to making it to five years. I'm sure there's going to be many more. And congrats on the production overall. I know I have my own opinions on it, but like at the end of the day, the show is fun. The show is for the person that wants to go to this big, you know, spectacle Broadway musical and it really checks all of those boxes. And bravo to JoJo. Because like, listen, I wanted to see JoJo last time she was here. And now that she's back and she's coming and do this, like you could maybe originate something on the Broadway stage, JoJo.

[29:26] Richie Grasso: Totally. Love her. And I hope she keeps coming back to Broadway because she's definitely very welcome there. Overall, Moulin Rouge, I like this. I suggest this to people coming to the city if they want the Broadway experience. I think it's great. I really do like it. And it was really nice to go back five years later.

[29:45] Jeff Malone: Well, that does wrap up our discussion of this episode. We hope you enjoyed our deep dive into Moulin Rouge on Broadway. We're going to share the link with ticket information in our description of this episode here.

[29:51] Richie Grasso: And don't forget, we want to hear from you. Continue the conversation with us on Instagram at half hour podcast and let us know your thoughts on Moulin Rouge.

[29:59] Jeff Malone: If you enjoyed the show, please leave us a review. Your feedback helps us bring more theatre to you. And remember, you can listen to past episodes and stay tuned for upcoming ones as well.

[30:06] Jeff Malone: Until next time, I'm Jeff.

[30:08] Richie Grasso: And I'm Richie saying ta-ta for now.

[30:10] Jeff Malone: Bye.