Dominion Theatre booking until 30 September. Reviewed by Claire Roderick
The Gershwins’ gorgeous music has finally found its perfect accompaniment in this show. The choreography, design and performances work together to weave an intricate and visually stunning musical.
Inspired by Vincente Minnelli’s film, director and choreographer Christopher Wheeldon has dug deeper into the dark aftermath of the German occupation of Paris, and Craig Lucas’s book makes the characters much more 3 dimensional and their motivation more authentic.
Ex GI Jerry Mulligan, an aspiring artist, decides to stay in Paris rather than return home and meets fellow American Adam Hochberg, struggling to complete his concerto, and Henri, from a wealthy and respected French family, who dreams of becoming a jazz singer in the States. The men all fall in love with the same woman, Lise, who must choose between true love and obligation.
The storyline is sweet and simple, but the undertones of lingering suspicion and guilt in post-war Paris bubble up in every conversation, providing extra bite. The opening sequence sees celebrations, food shortages, revenge against collaborators, and Jerry stalking Lise through the streets of Paris – which should be creepy, but is absolutely fine, because he dances like a dream.
All memories of Gene Kelly are dispelled when Robert Fairchild takes the stage – strong, lithe, and with a twinkle in his eyes as well as his toes, Fairchild’s dynamic performance is stunning. On behalf of all the middle-aged women in the audience, I would like to thank him for simply existing. His partnership with Leanne Cope as Lise is exquisite. Their first clandestine meeting on a bench on the bank of the Seine features the most artistic manspreading you’ll ever encounter. Each of their dances are hypnotically beautiful and take your breath away. The smiles on their faces as they leave the stage after they finally, passionately, kiss are full of mischief and delight, bringing audible sighs from the audience.
Wheeldon’s choreography matches Gershwin’s music with its lyrical sweeping themes, and the climatic first night ballet performance is truly a celebration of hope and love. The design, with wonderful projections by 59 Productions Ltd and a lush colour palette in Natasha Katz’s lighting, combines with the dance to create the illusion that we are watching a work of art come to life. This is full sensory overload, and it is paradise, truly celebrating the city of light.
With classics like ‘S Wonderful, But Not For Me and They Can’t Take That Away From Me, the cast and orchestra must be having the time of their lives. On the final note of the brilliantly staged I Got Rhythm, my friend turned to tell me that this one number alone was worth the ticket price.
David Seadon-Young as Adam and Haydn Oakley as Henri are wonderful foils for Fairchild, and the trio’s lovelorn numbers about Lise are staged and performed beautifully. My only gripe is that Adam and Henri’s duet I’ll Build A Stairway To Paradise doesn’t go full Fosse enough. Don’t get me wrong, it’s amazing – but not quite OTT enough for me. Jane Asher and Zoe Raynor also give fine performances as the other women in the trio’s lives dishing out one-liners with class.
An American In Paris is composed of layer upon layer of gorgeousness, breathtakingly glamourous and beautiful, charming and nostalgic. Sheer perfection. If you only see one show this year – make it this.