Review - An American in Paris

As usual, it has taken me way longer than it should've to get to a show I've wanted to see ever since it opened.  I would always gaze longingly at the title when I logged onto TDF, but wouldn't click 'buy' for some reason.  I entered the online lottery a couple of weeks ago, and actually won, but didn't know it because the e-mail went into my junk mailbox, which I can't access on my phone.  Anyway, that's just a bunch of blah blah blah to say that I'm thrilled I finally got to see An American in Paris before it closes in a couple of months, and I'm equally thrilled that I was the guest of my goddaughters and their mom. Win win, that's what I say.  :)

Of course, being a big MGM musical gal, I've seen the 1951 movie many MANY times.  I love it.  I'm a big fan of Gene Kelly and his dance, and the film is just a beautiful confection.  I especially love all of the artists references in the famous ballet at the end of the film.  Before seeing the musical, I did know that the story had been changed, and the time frame had been moved up to immediately after the war instead of a few years later. So I wasn't surprised with the changes, in fact, I was pleased with a lot of them.  They helped get more emotion into the plot.

First off, I had a smile on my face for almost the entire evening (there were moments where I was also in tears, but in a good theatrical way) and I just had the best time.  An American in Paris is one of the most gorgeous shows I've ever seen. Stunningly beautiful. Bob Crowley's designs are simply superb. So are Natasha Katz's lights.  Paris just shimmers and glows throughout the evening and you're swept away with beauty and love and dance. At least I was.

You also know already that I'm a HUGE fan of ballet, so clearly this production would be in my wheelhouse.  Christopher Wheeldon is a very exciting choreographer and I've enjoyed seeing his work done at NYCB and ABT over the years.  I thought he did an amazing job with American in Paris as well.  The beautiful dancing was a wonderful way to tell a story that most people have heard/seen before.  And the staging and pacing of the show was also expertly done.  I hope he comes back to Broadway soon.

photo credit: Sara Krulwich (not the gent I saw)

Just to get another of my preconceived loves out of the way, you probably remember that I'm a big fan of Craig Lucas' plays.  I find so much pain and heart and joy in them, and there was plenty of all three in his libretto for American in Paris. How he could show us the fear and sadness after the war alongside the joy and hope that was still there - genius. And the scene (not in the film) between cabaret singer Henri and classical pianist Adam was simply brilliant - so much was packed into that one short scene and it was so moving. But I was a little miffed that I was apparently the only person in the audience who got (and laughed loudly at) the Oscar Levant joke...

photo credit: Angela Sterling

The show was wonderfully performed - the dancers sang well, and the singers danced well.  Everyone's strengths were highlighted and complemented everyone else's.  I loved how it was so apparent that feelings were so deep that they couldn't be talked about or sung about, they had to be danced.  Mere words couldn't convey all the feeling.  Dimitri Kleioris, as Jerry Mulligan, was quite good at being rather an American rake, yet he radiated such sincere joy when he was dancing and especially when he was watching Leanne Cope as Lise dance.  It was enchanting.

I also liked the new direction the show took with Adam, played smartly by Brandon Uranowitz; he is now the narrator and the entry into the story.  His arc was very interesting and no longer merely the colorful genius that Oscar Levant was in the film.  And I loved Max von Essen as Henri; again, he's all of the wonderful things that the character is in the film, but with more layers and aspirations. And charm.  You all know how I love me some charm. Veanne Cox was her usual riotous self as Henri's mother, but again, there was so much more to her.  I admit I missed Nina Foch's take on Milo, but Jill Paice was really good in this show's re-imagining of the character. The whole cast was terrific - you could tell everyone in the ensemble loved what they were doing and took time to create characters and backstory.

If I were rich, I'd go back to see An American in Paris again and again. It's so beautiful and romantic and poignant.  Like I said earlier, I had a smile on my face practically the entire night.  My goddaughters loved the show, too, though they thought the French accents were suspect (they go to a French school).  I think their mom and I were more swept away, but the girls enjoyed it, too.  Our TDF tickets were terrific, in the back of the orchestra and just off to the side, and I lucked out in that I sat behind a small child, so I had the most amazing view of that glorious stage.  And the audience was one of the best-behaved Broadway audiences I can remember - no phones, no talking, no clanking of ice cubes.  I think everyone was swept up in the beauty of the show!  Sadly, it is closing in October, so you should definitely check it out before it leaves.  As another wonderful movie from the 50s tells us, Paris is always a good idea...