Get up close and personal with the bohemian world of Paris in its heyday and the spiritual birthplace of the Cancan – Moulin Rouge, the most famous cabaret in history. Experience the explosive story of young love and rising stardom set against a glamorous, sizzling Parisian backdrop.
“I’ve been going to the theater here long enough to have a sense of what Atlanta audiences like, and this show seemed like some sort of freaky, honed laserbeam aimed directly at the pleasure center of the brains of Atlanta theater-goers.”
– Creative Loafing
"Moulin Rouge®-The Ballet presented by Atlanta Ballet (2016);" video by Brian Wallenberg.
In the spirit of the Moulin Rouge of Paris, Moulin Rouge® is a registered trademark of Moulin Rouge S.A.
All photos by Charlie McCullers. Featured dancers include Anne-Tyler Harshbarger, Jonah Hooper, Yoomi Kim, Jackie Nash, Abigail Tan-Gamino, Rachel Van Buskirk, John Welker & Christine Winkler.
Cobb Energy Performing Arts Centre
The Cobb Energy Performing Arts Centre is the first major performing arts facility built in metro Atlanta in four decades.
Location and Parking
The Cobb Energy Performing Arts Centre is located in northwest Atlanta near the junction of I-75 and I-285, at the intersection of Cobb Galleria Parkway and Akers Mill Road. Self parking is available on site for a $6 fee, and valet parking is available for select performances for a $10 fee. You can also pay for paking in advance online - click here for more information. Please do not park in the Toys"R"Us lot on Akers Mill Rd. This is not approved parking for the Cobb Energy Performing Arts Centre, so your car may be booted or towed if left there. Click here for dining, hotel, and additional venue information.
Emergency Phone Number
(770) 916-2911 is the 24-hour public safety number for the Cobb Energy Centre. Please leave your seat location with your babysitter or answering service so that the house manager may find you in case of an emergency.
The venue is ADA compliant. Designated seats in various locations are available for guests with disabilities and those needing special assistance. The venue is equipped with wheelchair accessible courtesy phones, elevators, plaza ramps, wheelchair accessible ticket windows, and wheelchair accessible drinking fountains. For more information, please call (770) 916-2800.
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Place your order in advance by calling 404.792.1680 or visit our boutique at Westside Provisions District at 14th Street and Howell Mill Road.
It only takes 10 people to benefit from Atlanta Ballet's Group Sales program. With our fast, friendly and convenient service, you can secure the best seats in the house in no time at all. Groups save up to 30% off regular prices!
Click here for details and to submit a request to Myredith Gonzales, Group Sales Manager.
There are stunning, memorable moments. At the close of Act I, “Claire de Lune” lulls us into a dreamy world as Clark and Mara dance on and within the most striking set of the evening. The technically brilliant Mara captures love’s radiant glow, and makes us believe that even her whispers have tremendous power.
Combined with Clark, their subtle gestures, gossamer arms, and sincere eyes intertwine with the pale blue light that radiates from behind. They conclude their duet on a bridge, gazing at one another, then into the distance. What they share is profoundly intimate, moving in its simplicity, and totally believable.
Cynthia Bond Perry, The Atlanta Journal-Constitution, February 08, 2016
As Nathalie, Nadia Mara has come into her own as one of the company’s outstanding female dancers. With clear and effervescent technique and a magnetic stage presence, Mara plays a fetching female lead with soft vulnerability and a delicate sense of poetry.
Dancing as Matthew, Christian Clark takes bounding leaps and head-spinning pirouettes that sing with emotion. On a bridge over the river Seine, Clark and Mara dance a breathlessly romantic duet as Claude Debussy’s “Clair de Lune” bathes the scene in silken lyricism
As they prepared for opening night last week, Clark and Mara sat down with ArtsATL for a conversation that touched on the importance of having the right dance partner, their love for story ballets and the backstage perils of strenuous dance pieces.
Cynthia Bond Perry, The Atlanta Journal-Constitution, February 01, 2016
Looking in on a rehearsal for “Moulin Rouge — The Ballet” is like stepping into the past — Paris, circa 1890. Atlanta Ballet dancers practice whip turns and partnering phrases; one sews pointe shoes while another does push-ups and bicep curls. It’s a circuslike scene that could have happened on any afternoon at the storied cabaret.
Andrew Alexaner, Creative Loafing, October 23, 2010
Whoever gave the final thumbs up to the decision to bring “Moulin Rouge” to the stage in Atlanta deserves a raise and probably a trip to Paris. I've been going to the theater here long enough to have a sense of what Atlanta audiences like, and this show seemed like some sort of freaky, honed laser-beam aimed directly at the pleasure center of the brains of Atlanta theater-goers.
Cynthia Bond Perry, The Atlanta Journal-Constitution, October 20, 2010
When asked after rehearsal what he’d like for audiences to come away with, Morris said, “I’d like them to feel they’ve either had a snapshot or a glimpse or an emotion or some sense of Paris.
“I’ve tried to make it a very human story that everyone can relate to. I’m sure everyone has had that love triangle at some point, or has been misled by their boss, or given a job for not all the right reasons they’ve been told. I try to make it accessible so that people can say, that happened to me once. ... I think the audience will connect with some part of that human content.”
Manning Harris, Atlanta INtown Paper, November 05, 2010
The moonlight pas de deux that Matthew and Nathalie dance to Debussy’s “Claire de Lune” is heavenly; it’s moments like this that make ballet fans out of people who think they don’t like ballet. The aforementioned four principals are all excellent. “Moulin Rouge: The Ballet” is a triumph.
Moulin Rouge thus becomes that rare kind of story ballet that evokes in its path a variety of dance patterns, and in its second world première for the Atlanta Ballet, showed off the varying individual styles of dancers, revealing the company at its best and causing me to wonder how one can fail to love Paris after seeing this ballet.
by Negan on February 19, 2016
I attended with my daughter who danced point for 10 years. She was not that impressed with the overall technique except the lead male. Having been around dance with her I also spotted a lot of things I thought could have been better. The scenes played in the "short stage" with the dancers right in front of the exterior MR background were tedious to me and the lighting flat and uninspiring. The lighting in general seemed not up to AB's standards. The bridge scene with the lovers almost saved it for me because the lighting and set design were so much better than anything else up to that point. To me lighting and set transitions need much more work. Although my daughter said the female lead had "bad feet'" I enjoyed her work. The dancers to me seemed so constrained in the first act like they were being held back. I forget which scene in the second act but I said to my daughter "finally they are letting the horses run". We both love dance but they director needs to let them loose at bit more in my unprofessional opinion and give the lighting designer more to work with.
by Margaret Chaffin on February 16, 2016
It was a wonderful show!!!
by ML Brown on February 15, 2016
The show was entertaining, not exactly what I was expecting, but entertaining. One thing that surprise me was to see children in a show like that. Although it was Sunday afternoon, I do not think it was a show for small children. They keep others for enjoying the show because of been too active.
by Christin on February 15, 2016
Wonderful performance! A very enthusiastic show! My husband enjoyed it for his first ballet.
by Shantel Hollis on February 15, 2016
My boyfriend and I attended this for valentine's day weekend...it was great!!!...Not just a ballet it was full of laughter, dance and very romantic. We had a great time!!
Moulin Rouge - Wonderful
by Rita on February 11, 2016
Just a wonderful afternoon. The ballet was GREAT!!!! The ability to convey the sensuousness of the story through dance was wonderful. Truly a delight!
After retiring from the stage as a principal dancer, Jorden began to study and explore choreography. He attended New York University studying dance and theatre arts. Jorden also worked with Claude Bessy and Serge Golovine from the Paris Opera, studying early French choreography. In 1999 Jorden premiered The Three Musketeers. This first work was a one act ballet depicting the classic Alexandre Dumas novel. In 2000, Jorden choreographed Elle est Quatre for the Alabama School of Fine Arts in Birmingham, Alabama. This contemporary work to the music of Aaron Copland was taken to the Birmingham arts festival after its premiere at ASFA. Jorden was commissioned by Royal Winnipeg Ballet artistic director Andre Lewis to choreograph two works for the visit of HRH Queen Elizabeth in 2000. The pas de deux Faure and Pas Espagnol, a classical group piece for the RWB Professional Division, were performed for her majesty and broadcast nationally on CBC television. In 2002 Jorden took on the concept, direction, and choreography of Head Start/Feet First. The project was collaboration between the Royal Winnipeg Ballet and four intercity high schools. Jorden choreographed the popular work Free zone for this project as well as the finale, which incorporated 160 dancers on stage. In 2003, Jorden took the popular children’s television show The Toy Castle and transformed it into an interactive live dance performance. Directed and choreographed by Jorden, the production incorporated a live host with interactive dance for pre-school children. Since then, Jorden has re-staged the work for Atlanta Ballet. Jorden starred in the television series and was nominated for a Genie award in 2003. In 2005, Jorden created the Celtic themed ballet Deverell, one of his most popular and well known works. A favorite of critics and audiences, Deverell continues to be re-staged and taken on tour. Jorden choreographed the Salute to Vienna Concert series in 2005 and 2006. After the success of Jorden’s work in the Winnipeg 2005 series, his choreography was taken to Hamilton and Kitchener performances as well as Winnipeg in 2006. In December of 2006, Canada’s Royal Winnipeg Ballet presented the world premiere of Jorden’s full-length classical ballet Peter Pan. The critically acclaimed work played in sold out houses over the Christmas season, making it the biggest box office success in the company’s history. Jorden’s second full-length creation, Moulin Rouge had its world premiere in October 2009. Additional performances were added in Winnipeg and on tour due to box office demand for this one-of-a-kind production. Moulin Rouge ticket sales surpassed Peter Pan, and it is now the company’s biggest box office success to date. In the fall of 2010 Jorden re-staged Moulin Rouge for Atlanta Ballet. In 2011 Pittsburgh Ballet Theater presented Peter Pan and will perform Moulin Rouge in 2013. In the spring of 2011 Jorden was commissioned to choreograph a new work for the Canadian Genie Awards. Broadcast nationally, Dance me to the end of Love was created to Leonard Cohen lyrics and orchestrated by the award-winning musical group Karkwa. In the spring of 2012, the Royal Winnipeg Ballet premiered two new works by Jorden. The Doorway is set to the music, poetry, and voice of Leonard Cohen. MOA, a work inspired by the artist Egon Schiele, was performed at the In Concert showcase. After playing to over 100,000 people on tour in North America, Moulin Rouge will make its return to Canadian audiences in 2013 and be transformed into a full-feature dance film. Most recently, Jorden choreographed I won’t let you go with principal dancers from the National Ballet of Canada and singer songwriter Jacob Hoggard for the live broadcast of the Giller Prize awards on CBC National Television. Visit jorden.ca for more information. (Photo by Bruce Monk.)
Learn more about the world-renowned entertainment venue and get immersed in the story of 126 years of dance, music, and festivities at the Moulin Rouge!
MOULIN ROUGE, THE PARISIAN PLACE OF CELEBRATION SINCE 1889
Popular cabaret when it first opened in 1889, emblematic music hall during the Années Folles (the Roaring Twenties), and stage of many French and international artists… For 126 years, the Moulin Rouge has been preserving the tradition of the Parisian festive spirit.
Throughout time, artists of all kinds have been inspired by the Moulin Rouge of Paris: painters, decorators, singers, costume designers, film directors, choreographers, and many more. The famous Cancan dancer La Goulue was the painter Toulouse-Lautrec’s muse back in the Belle Epoque. During the 1920s, Mistinguett, nicknamed Queen of the Music Hall, was an endless source of inspiration for the young sketcher Gesmar… During each era since 1889, these stories have been laid on canvas or paper to let themselves be discovered or re-discovered for everyone’s greatest enjoyment.
Today, the 80 performers of the Moulin Rouge present Féerie, a colorful revue show created by talented artists and craftsmen that lets the spectators live a unique experience in a mythical venue. Through four poetic and energizing main scenes, Féerie is a journey in space and time: from the garden of the Moulin Rouge back in 1889, to the wild lands of Indonesia, to the joyful atmosphere of a circus, and more. Féerie is full of surprises. Symbolized by the most iconic dance of the Moulin Rouge, the world-famous French Cancan, this revue show is a tribute to the Parisian spirit of celebration.