If you see only one Broadway musical this season, let it be An American In Paris. This show is as close to perfection as even the most ardent aficionado can imagine. The entire production is put together like a fine timepiece; every tiny section is meticulously staged. Every moment is filled with ever changing visuals, and with shapes and colors to dazzle the eye. There’s 1945 Paris, of course, complete with Eiffel Tower, in all her shabbiness and all her glory right after the war. There’s the ocean, complete with little row boats. Everything is constantly changing, fracturing, regrouping.
Completely captivated by the City of Lights, a young GI who fancies himself a painter just can’t bear to leave Paris. He sees the girl of his dreams, and he’s mesmerized. There’s a connection, but she runs away, and keeps running. He’s not the only one interested, but we know that he’s the one whose passion will win out in the end.
In the center of all this whirling activity is an absolutely superb cast, flawlessly directed by renowned choreographer Christopher Wheeldon. The gods have given him the gift of two perfect lead players. Robert Fairchild is the matinee idol of NYC Ballet, and it’s no wonder. He’s Josh Duhamel handsome, and the term “manly grace” could have been coined for him. Fairchild has claimed Gene Kelly as his idol, and in playing Jerry Mulligan, a character so identified with Kelly, he has the same combination of cockiness, exuberance, and ardor. Yet, Fairchild puts his own brand on the role, and does so while elevating the dance elements of the movie. His leaps across the stage are so easy, it’s hard to remember how difficult they really are. And when he lifts his leading lady, you feel that the two of them could just take off and fly.
The object of Jerry’s affection is Lise Dassin, beautifully brought to life by Leslie Caron look-alike Leanne Cope, star of the Royal Ballet. By turns fragile and resilient, Lise holds a terrible secret, and is beholden to the family of the man everyone expects her to marry. But one look at Jerry, and she’s thrown into turmoil. While, in the film, the dramatic dream ballet is a figment of Jerry’s imagination, here it is cleverly assigned to her. Cope brings such sensitivity and compassion to the role, it’s no wonder all the men fall for her. While there are many fine dancers in the ballet world, it’s Cope’s arms which are astounding. She moves with such fluidity and grace, it’s hard to believe there are human bones, let alone elbows, involved. She is simply all together lovely. She’s supposed to marry Henri Baurel, the uptight scion of a prominent family to whom she is beholden. Henri loves Lise, but his real passion is for a career as a nightclub singer. Max Von Essen brings down the house with the fantasy production number, “I’ll Build A Stairway to Paradise,” complete with chorus girls in plumed hats. Does he have sexual feelings for his intended, or is he homosexual? Even his mother wonders; Von Essen lets us decide for ourselves.
Henri’s mother, Madame Baurel, is played with distinction by Veanne Cox, one of our finest (and most underrated) character actresses. In lesser hands, this is a role that might have been a stereotype of the proper matron, but Cox imbues her with real warmth and allows us to see the steel under the polished finish. When she finally dances and cuts lose, the audience loves it.
Also excellent is Jill Paice as Milo Davenport, a rich American woman with designs on Jerry. I look forward to seeing her in a leading role soon.
It’s impossible to stress how much the Gershwin music brings to this production. So it seems only fitting that the young piano player, who epitomizes George, is played by as fine an actor as Brandon Uranowitz. His Adam Hochberg is a gifted composer, soulful, enthusiastic about his work, and desperately in love with Lise. When he sings “But Not for Me,” prepare to use your hanky to wipe away tears. An American in Paris brings to the audience a beautifully conceived production, spectacular dancers who can also act and sing, and gorgeous music. Who could ask for anything more?
