Gershwin’s Musical Is A Balletic Treat
Bob Crowley’s set design and Christopher Wheeldon’s choreography are a treat for the eye in An American in Paris but the story fails to engage the heart.
The sets are the real star of this ballet, now playing at The Dominion in London. Animations projected on to a backdrop recreate the process of drawing Parisian scenes in pen and ink which then become glorious colour. They are a paean to the city of light that inspired so many artists.
One of those artists is Jerry, the lovestruck GI familiar from the original Hollywood film. In many ways, this stage show improves on the movie. There are extra Gershwin songs and a more interesting story which emphasises the euphoria of Parisians liberated after the war and adds some love rivalry.
Yes, ’SWonderful to see pure ballet in a West End musical, but beautiful pliés and pirouettes don’t excite like the thrusting I-Got-Rhythm energy of more modern dance forms. By comparison, this year’s tap-based On The Town at the Regent’s Park Open Air Theatre was a constant excitement.
The leads Robert Fairchild and Leanne Cope have perfectly adequate voices but their singing fails to attain the emotional heights of their superb dancing. Wheeldon is more impressive as a choreographer than as a director: the ballet soars but the storytelling is pedestrian.
What the show lacks is a Gene Kelly. I know it’s unfair to expect anyone to possess Kelly’s charming persona or muscular dancing skills but regrettably no other aspect of this excellent ballet is quite enough to make you forget that, for all his classical aspirations, George Gershwin was a product of the jazz age.
An American in Paris is performing at the Dominion Theatre London until early 2018.
See my video review below or at One Minute Theatre Reviews on YouTube