Maybe because I was reviewing An American in Paris just after the barbarians’ attack on The City of Light [in November 2015], the cultural values of the musical itself threatened to be under attack. Luckily, the show went on and did so so beautifully that it could--and can--be regarded only as a victory for civilization, its arts and values. All of us who attended--and, I hope will attend--can be considered winners.
Taking place in Paris just after WW II, everything about the musical is authentic from projections and costumes to the rightness of regular scenic elements. Lighting with potent variations is all one could ask for. But the music and dance give us even more: rich choreography that is of the time blended with classical elements and use of great American music and lyrics, starting with “Concerto in F.”
Oh, the songs! Well known from the film, “I Got Rhythm” gets a new treatment featuring the three lead males, as do “‘S wonderful” and finally “They Can’t Take That Away from Me.” For heroine Lise, there’s “Liza” just as “I’ve Got Beginner’s Luck” presages the situation of hero Jerry Mulligan. And Henri (so well embodied by Max von Essen) gets to build an outstanding “Stairway to Paradise” worthy of the old Folies or Lido.
The book is a lively take-off on the film, with a more powerful reason for Lise’s almost giving up Jerry out of extreme loyalty to Henri and his parents. Robert Fairchild’s Jerry and Leanne Cope’s Liza are here just the right ages and convey real romantic love. Jill Paice is nicer than the film’s rich Milo, ripe to be artist Jerry’s promoter--and more.
Yet if there is a problem, it’s with the book, because having the witty pianist-composer Adam (Brandon Uranowitz, lovable) be a third aspirant for Lise’s devotion makes him ultimately more competitive than Jerry’s staunch friend. In addition, his success with his music isn’t emphasized as much as Henri’s in show biz and attraction for Lise. This makes Adam’s fate less in tune with the musical as a whole. Luckily, the dancing is wonderful throughout, and the dancers’ voices are, too! (I heard audience members leaving comment on this.) And on that horrendous night when we had viewed An American in Paris, everyone on stage and behind the production had given us a glorious winner, the likes of which I hope we will never have to be without.
