F ew musicals can claim to represent an epoch – Hair is as indelible an image of free-love hippiedom as those photos of flower children in Haight–Ashbury, while The Phantom of the Opera speaks to the hyper-commercialism of the 80s as powerfully as Gordon Gekko – and certainly the producers of Tony-sweeping Moulin Rouge! would prefer not to have their show forever associated with a global pandemic.
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