"Moulin Rouge! The Musical" at the Fox offers spectacular escape filled with glitter, glamour and pop

“Moulin Rouge! The Musical” at the Fox is Paris via Vegas, Montmartre by way of Mardi Gras, “Cabaret” crossed with Carnivale, “La Boheme” slathered in “Lady Marmalade” and Baz Lurhmann busting a move with … well, a Maxi-Me version of himself.

In the lavish and extravagant world of “Moulin Rouge! The Musical,” nostalgia meets modern pop and escapism reigns supreme with an audacious, unapologetic pulsing, pounding party spirit. As the Moulin Rouge nightclub emcee Harold Zidler (played with puckish pluckiness by Robert Petkoff) practically commands in the opening number – “The Moulin Rouge is a state of mind!”

This jukebox, or songbook, musical takes the 2001 Luhrmann film and pumps it up with snippets, references or reinterpretations of around 70 pop songs, ranging from “The Sound of Music” to the Rolling Stones, Elton John, Beyoncé and Katy Perry. I lost count after a few dozen, and that doesn’t count the ones I probably didn’t catch. The fusion of iconic pop songs, while occasionally surprising, aims to evoke a sense of nostalgia and connection. Songs that once defined romantic moments in our lives are reimagined here, attempting to breathe new theatrical life into them. It’s a bold approach that mostly (and cleverly) works.

The Broadway original of “Moulin Rouge! The Musical” won 10 Tony Awards. Excepting the award for Best Musical (Broadway can do much better and the judges could have chosen more wisely), the show’s strengths is its visual and auditory grandeur and flamboyant dance numbers. The costumes, lighting and scenic design, though adapted for touring, remain sumptuous and captivating. The choreography, crafted by Sonya Tayeh, infuses the show with a dynamic energy that propels it forward with excitement – the time-worn and trope-ish story be damned.

At the core of the production is the talented ensemble. Christian Douglas, portraying Christian, shines with a brilliant singing voice and endearing charm that elevate the material. Gabrielle McClinton impresses as Satine, as she effortlessly navigates a demanding role that requires both vocal prowess and dance skills. Andrew Brewer’s portrayal of the bad-guy Duke of Monroth was lightly menacing, though his center-stage moment singing a mash-up of the Rolling Stones’s “Sympathy for the Devil,” “Gimme Shelter,” and “You Can’t Always Get What You Want” was more silly than sincere.

Danny Burgos portrays Santiago, a charismatic and vibrant character that really commands attention in Act II when he and Sarah Bowden as Nini (a Moulin Rouge performer) share a steamy duet singing Lady Gaga’s “Bad Romance.” Bowden’s lithe and athletic dancing was one of the show’s definite highlights.

“Moulin Rouge! The Musical” doesn’t apologize for its decadence. It invites you to indulge in in its extravagant world of glitter, glamour and theatricality. It doesn’t offer profound storytelling or deep emotional resonance, even though it tries a bit too hard for that in the second half. It’s strength is its ability to deliver a pulsing, pounding experience—an escape into state of mind where a pretend-reality bends to the whims of desire and passion. Ahh, if only.

Performances of “Moulin Rouge! The Musical” continue at the Fox Theatre until May 12. For more information, visit the Fox web site.