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Ben Brantley, The New York Times

"There's a young man who sees her soul beneath the spangles, and who exudes the glowing naïveté of an American innocent newly arrived in Sodom. That's Christian (a shining Aaron Tveit, in the role created on screen by Mr. McGregor), a penniless composer, who's been brought to the Moulin Rouge by his newfound friends Santiago and Toulouse-Lautrec (Ricky Rojas and Sahr Ngaujah, both delightful)."

"And Ms. Olivo and Mr. Tveit, in a role he was born to play, make contemporary aural wallpaper like “Firework” (Ms. Olivo), “Roxanne” (Mr. Tveit) and “Rolling in the Deep” (both) sound like impassioned, personal cris de coeur that their characters might have invented on the spot and out of necessity. These songs are their songs, which somehow makes them, more than ever, your songs, too."

Bob Verini, Variety

"As for the story, librettist John Logan has fortified the melancholy triangle contrived for the film by Luhrmann and Craig Pearce. Courtesan/headliner Satine (the fierce, phenomenally gifted Karen Olivo) is no passive lily waiting to be consumed by consumption, but a shrewd calculator of percentages in weighing poor but earnest songwriter Christian (dashing Aaron Tveit, injecting the right amount of madness) against the rapacious but well-heeled Duke of Monroth (moody, romantic Tam Mutu). That each man offers a plausible option for Satine invests her choices with greater weight and suspense."

"Supporting roles have also been given careful attention. As club entrepreneur Harold Zidler, Danny Burstein is periodically allowed to drop the carnival barker bombast and show us the loneliness and ache within. Particularly satisfying is the metamorphosis of Toulouse-Lautrec (Sahr Ngaujah, so brilliant in “Fela!”) from the movie’s lisping goofball to a defiant defender of artistic freedom. Ngaujah presents a cane and crabbed walk in place of the painter’s diminutive size, and his backstory, including a hopeless passion for Satine, prompts the show’s single most memorable — and quiet — musical moment, a heartbreaking rendition of “Nature Boy.”"

Jan Nargi, BroadwayWorld

"Complications ensue when Satine mistakes the love-struck American songwriter Christian (a somewhat goofy Aaron Tveit) for the Duke, creating a dangerous love triangle. Eventually these relationships are mirrored in the exaggerated melodrama that Christian, the artist Toulouse-Lautrec (a wonderfully sympathetic Sahr Ngaujah), and the Flamenco dancer Santiago (a comically passionate Ricky Rojas) write for Zigler and the Duke. For a time rehearsals provide cover for Satine and Christian's affair, but eventually the dangers grow to operatic heights, ultimately culminating in a tragedy worthy of Camille. BWW REVIEW: MOULIN ROUGE Spins Wildly At Boston's Restored Emerson ColonialA major problem with this current iteration of MOULIN ROUGE is the jarring shifts in tone that all but destroy the underlying idealistic themes of "truth, beauty, freedom, and love." The singing voices are magnificent, to be sure, but Olivo, Tveit, and Mutu especially haven't found their footing in developing characters of real dimension. "

"Instead, director Alex Timbers and his creative team have amped up the orchestra and the visuals to translate from the film to the stage Luhrmann's quick cuts and extreme close-ups. Dancers move athletically to a distinctly loud and insistent electronic beat while a large, rotating windmill that hangs over the audience creates a pulsing strobe effect as its blades cut through the intense stage lighting. There are also times when Tveit, Ngaujah and Rojas seem like The Three Stooges, engaging in slapstick comedy that sacrifices the story for easy laughs. BWW REVIEW: MOULIN ROUGE Spins Wildly At Boston's Restored Emerson ColonialIt would also be helpful if there were stronger chemistry between Olivo and Tveit. If she were a bit more enamored and vulnerable and he a bit more brooding and sincere, together they might be able to ignite a strong enough spark to make their love story truly epic and eternal. Currently, their love can't compete with the sensory overload. And when their story does finally resolve on what turns out to be a heartfelt ending, the moment is obliterated by that Still, as a commercial property, MOULIN ROUGE is likely to be a roaring success. "

Patti Hartigan, The Boston Glob

"All that said, the ensemble is top-shelf. As Christian, the boy from Ohio with a lovely mane of hair, Aaron Tveit is a breath of fresh air in a show with too many women in bustiers and tattered fishnet stockings. Sahr Ngaujah, as Toulouse-Lautrec, is the epitome of an artist, and he breaks your heart. Danny Burstein holds his own as Zidler. Karen Olivo’s Satine is lovely. This is “La Boheme” a la Luhrmann, so it’s no secret how she ends up, suddenly."

Debbie Forman, Cape Cod Times

"John Logan’s book follows the film’s narrative, the setting being Montmartre and the famous cabaret, where the can-can kicked up a storm. The star of the show in this fictional account is Satine, a courtesan, who falls in love with Christian, an innocent American composer who comes to Paris to make a name for himself. On the streets of Montmartre, Christian meets Toulouse-Lautrec and Santiago, and he is on his way to the Moulin Rouge, where he hopes to make his songs known. However, the showplace is in financial trouble and owner Harold Zidler seeks backing from the Duke of Monroth. But the duke is not interested in just investing. He wants to own the show — and Satine, who must yield to his wishes for the sake of the survival of the place and its performers."

"The second act opens vibrantly with dance, but then the story gets serious and we are caught up with the tragic love affair of Satine and Christian with sad ballads sung by the couple. As Christian, Aaron Tveit sings with passion and a strong voice, as does Olivo, whose evocative performance in her musical numbers is striking. However the couple’s portrayal as star-crossed lovers never quite captures our emotions."