![]() There was a lot of playing around with the keys, instrumentations and tempos of these songs in trying to see how they could fit together. I then put together songs about the painful parts of relationships - Britney Spears' "Toxic," Soft Cell's "Tainted Love," the White Stripes' "Seven Nation Army" and Eurythmics' "Sweet Dreams (Are Made of This)" - and made this anti-romance medley. Levine: Lady Gaga's "Bad Romance" is a song that's not in the film but is absolutely at home with the canon Baz created. It's hot-blooded - there's sexual tension and aggression and a real hyper-physicality in excess. We toss Christian as if he were being shot out of a rocket into flight, but even when he lands, there's something in the way. The idea of unattainability in a secret affair is in the physical language of the piece: Christian keeps trying to get to Satine and misses her by an inch with these swirling lifts like tornadoes that keep winding him up, he just can't seem to get to her, knowing that the Duke is nearby and watching his every turn. Sonya Tayeh (choreographer): I love "Backstage Romance" because it truly celebrates the body in motion. Theater people know there's always that moment midway through the rehearsal process when people start having affairs, so Santiago and a dancer named Nini start getting involved, while our forbidden lovers Christian and Satine are continuing their clandestine romance. It jumps forward in time to when our bohemians are rehearsing for the show-within-the-show, and the choreographer Santiago is working with the Moulin Rouge dancers. Logan: The sequence is a scene that wasn't in the movie. Justin Levine (music supervisor and orchestrator): From the beginning, we all talked about opening Act 2 with a tribute to "Too Darn Hot" from "Kiss Me, Kate," which is this backstage moment where you get to see performers in the middle of their process. ![]() So, yes, starting the second act with a full-blast explosion is definitely risky in comparison to most musicals, but it always felt like the right thing to do. John Logan (book writer): Our brief was to take Baz Luhrmann's masterpiece of cinematic overkill and turn it into theatrical overkill, in a way. Tanisha Moore stretches on stage before the start of the second act.
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