>> Stephen: HEY, WELCOME BACK, EVERYBODY!
MY NEXT GUESTS ARE THE STARS OF ONE OF BROADWAY'S HOTTEST NEW
SHOWS, "MOULIN ROUGE! THE MUSICAL."
PLEASE WELCOME, KAREN OLIVO AND AARON TVEIT!
♪ ♪ ♪
♪ ♪ ♪ >> HELLO!
>> YES.
>> Stephen: WELCOME.
( APPLAUSE )
>> SERIOUSLY.
>> Stephen: IT'S NICE TO HAVE NEW NEIGHBORS DOING SUMP A
BEAUTIFUL MUSICAL.
IT'S MOULIN ROUGE AT THE AL HIRSCHFELD THEATRE.
AND IT'S BASED ON THE 2001 BAZ LUHRMANN FILM WHICH IS SUPER
OVER THE TOP.
>> WHAT?
>> Stephen: BEAUTIFUL!
IT IS PACKED WITH LIGHTS AND MUSIC AND EMOTION.
WHAT DID YOU THINK WHEN THE TWO OF YOU HEARD THAT THEY WERE
DEVELOPING THIS MUSICAL?
>> IT'S ABOUT TIME.
>> YEAH.
>> Stephen: REALLY?
>> NO, I SAW THE MOVIE AND I WAS LIKE, "THIS HAS TO BE A MUSICAL.
ABSOLUTELY, RIGHT?
>> IT JUST IS ALWAYS SEEN TO BE ONE OF THOSE STORIES BECAUSE AS
YOU SAID THE FILM IS KIND OF SO OVER THE TOP.
I ALWAYS THOUGHT IT WOULD TRANSLATE VERY WELL TO A
BROADWAY STAGE.
I KIND OF COULDN'T BELIEVE IT TOOK THIS LONG FOR THEM TO DO
THAT.
>> LOOK AT THAT!
>> Stephen: THIS IS THE SET RIGHT HERE.
IT'S INCREDIBLY LAVISH.
THERE'S A GIANT ELEPHANT ON THE SET?
>> THERE'S A BIG ELEPHANT.
>> YEAH!
>> Stephen: AND OF COURSE THE ICONIC WINDMILL.
AND CONFETTI CANS AND EVERYTHING.
I UNDERSTAND YOU MAKE AN ENTRANCE ON A SWING.
>> I DO, SIR.
>> Stephen: FROM THE TOP OF THE DAMN DOME.
>> I DO.
>> Stephen: ARE YOU SCARED?
>> I USED TO BE, AND NOW I'M-- IT'S, YOU KNOW, IT'S LIKE
SITTING IN THAT CHAIR.
( LAUGHTER ).
>> Stephen: FIFELL OUT OF THIS CHAIR, NOTHING WOULD HAPPEN.
( LAUGHTER )
IT.
>> Stephen: REALLY?
>> YEAH.
>> Stephen: WELL, DO YOU-- ARE YOU CLUTCHING FOR DEAR LIFE?
>> NOT ANYMORE, NO.
I TRUST-- I TRUST THE PEOPLE WHO PUT ME IN IT.
I HAVE A SAFETY HARNESS.
>> THE GOOD THING ABOUT THE SWING SHE'S IN, WE DID OUR
OUT-OF-TOWN IN BOSTON LAST YEAR AND IT'S ACTUALLY A SWING CHAIR
AND NOW SHE'S BASICALLY ON THE TRAPEZE BAR.
SO THEY'VE TAKEN AWAY ALL OF HER SURFACE AREA.
>> YOU GUYS, IT'S GREAT.
I'M OKAY.
DON'T WORRY.
>> Stephen: COW SING AS YOU COME DOWN?
>> I DO, SIR.
>> Stephen: THAT MUST GIVE YOU A TREMBLE LIKE NOBODY'S
BUSINESS.
>> NO, IT'S GREAT.
IT'S -- >> Stephen: NO THANK YOU.
NICOLLE KIDMAN CAME TO THE SHOW.
>> SHE SURE DID.
>> Stephen: OF COURSE THE ORIGINAL SATINE FROM THE MOVIE.
DID SHE TALK TO YOU GUYS ABOUT-- DID SHE GIVE YOU HER BLESSING.
>> YEAH, SHE AND KEITH URBAN, HER HUSBAND, WERE THERE AND THEY
CAME BACKSTAGE TO SEE US.
IT'S REALLY KIND OF AMAZING.
IT'S AN ICONIC PERFORMANCE AND FOR HER TO COME BACK AND--
>> IT MEANT A LOT TO US.
SHE ASKED ME HOW I DID THE COUGHING.
SHE IS THE ONE SHE WAS MOST INTERESTED IN.
>> Stephen: THE CHARACTER IS CONSUPPORTED.
>> SHE'S DYING OF CONSUMPTION.
>> Stephen: EVERYTHING IN PARIS IN THE 1890s WAS DYING
OF CONSUMPTION.
HOW DO YOU SING AND COUGH AT THE SAME TIME?
>> CAREFULLY.
♪ SECRETS ♪ >> Stephen: NOW, THE SHOW IS--
WELL, IT'S PARDON POP SONGS.
>> YEAH.
>> Stephen: WOVEN THROUGH A STORY FROM THE 1890s.
HOW DO YOU FIT IN LIKE RIHANNA AND LADY GAGA AND THINGS LIKE
THAT.
I SEE LADY GAG GAIN PARIS IN THE 1890s.
DOES THAT FOLLOW SUIT?
>> THE MUSIC, IF YOU HAVE NOT SEEN TUSES POP MUSIC TO TELL THE
STORY.
AND OUR CREATORS PUT TOGETHER SOME OF THE MUSIC REPORT FROM
FILM, THE NEW MUSIC.
BUT I HAVE TO SAY, FROM MY OWN STANDPOINT, I DON'T EVEN THINK
OF THEM AS POP SONGS ANYMORE BECAUSE THEY WORK SO WELL
DRAMATICALLY.
>> SO TRUE.
>> IN THE STORY.
LIKE, THERE'S A SECTION IN THE SECOND ACT WHERE I SING NARLS
BARKLEY INTO AN ADELE SONG.
AND YOU WOULD THINK THAT REALLY WOULDN'T WORK IN 1899 PARIS, BUT
THE LYRIC FITS SO WELL DRAMATICALLY.
>> THE STORYTELLING IS SEAMLESS.
>> Stephen: ARE YOU JEALOUS OF THE SONGS THE OTHER ONES GET TO
SING?
>> I JUST LEARNED THAT HE IS.
I DIDN'T KNOW THIS.
>> YEAH, KAREN GETS TO SING "FIREWORK" BY KATY PERRY VERY
EARLY IN THE SHOW.
>> ANY TIME UP TO THE SING IT, BRO, YOU CAN SING IT.
I'LL LET HIM HAVE IT!
>> Stephen: NOT ON STAGE, THOUGH.
>> COME ON!
HE COULD DO IT.
>> I MEAN, SHE DOES IT GLORUOUSLY WELL.
>> Stephen: SHE COULD DO IT IN YOUR KEY?
>> YOU HAVE HEARD HIM SING?
>> Stephen: NO.
>> OH, YOU'RE ABOUT TO.
COME ON.
LOOK, THIS.
( CHEERS AND APPLAUSE ) EXACTLY!
>> WE ACTUALLY-- WE HAVE A VERY STRANGE-- YOU KNOW, IT'S KIND OF
AMAZING TO SING WITH KAREN BECAUSE WE SING ANOTHER SONG
TOGETHER "COME WHAT MAY," AND THERE ARE MOMENTS I THINK OUR
HARMONY PARTS ARE SO CLOSE TOOTH WE TALKED ABOUT IT-- WE FORGET
AND WE CAN'T ACTUALLY TELL WHO IS SING CHICAGO PART.
>> THAT'S VERY TRUE.
SONICALLY WE LIVE IN THE SAME PLACE.
IT'S VERY WEIRD.
>> IT'S REALLY ODD.
>> Stephen: THAT'S A PHRASE I'VE NEVER SAID "SONICALLY WE
LIVE IN THE SAME PLACE."
WELL, YOU'RE GOING TO DO A SONG FOR US NOW.
WHAT SONG ARE WE GOING TO HEAR?
( CHEERS AND APPLAUSE )
>> SO THIS IS-- THIS IS ONE OF THE SONGS THAT IS IN THE FILM
AND ALSO OUR SHOW.
IT'S "YOUR SONG."
IT'S KIND OF WHEN SHE AND I -- >> Stephen: ELTON JOHN.
>> ELTON JOHN AND ORIGINALLY.
WE'RE IN THE ELEPHANT.
AND IT'S A CLASSIC FARCE WHERE SHE THINKS WE'RE THERE TO SPEND
THE NIGHT TOGETHER AS A BUSINESS TRANSACTION, AND I THINK I'M
THERE TO PITCH A SONG IDEA TO HER.
SO HILARITY PURSUES.
>>> Stephen: STICK AROUND FOR A PERFORMANCE FROM "MOULIN ROUGE!
THE MUSICAL" BY KAREN OLIVO AND AARON TVEIT!
WE'LL BE RIGHT BACK.