An American in Paris

Reviewed by Julio Martinez
Pantages Theatre
Through April 9

RECOMMENDED

The playbill for An American In Paris reveals that the 2015 Tony-nominated — which is now enjoying its Los Angeles premiere at the Pantages Theatre — was inspired by the 1951 film starring Gene Kelly, Leslie Caron, and Oscar Levant. Well, the story is certainly in place: an expat G.I. artist settles in Paris at the end of WWII, is befriended by a sardonic pianist, and falls in love with a ballet dancing shop girl. But this version, with a book by Craig Lucas, delves much deeper into the lives of these three characters than the film did.

Directed and choreographed by Christopher Wheeldon, the show is a masterful amalgamation of dance, set, costume design, and surrealistic projections, underscored by the melodies and lyrics of George and Ira Gershwin.

Dance is the prominent art showcased in this tribute to Kelly and the film. Vet-turned-artist Jerry Mulligan (Garten Scribner) literally soars about this newly liberated city, constantly in pursuit of Lise Dassin (Sara Esty), an elusive Parisian girl who has caught his attention.

The two are conveniently brought together by aspiring composer Adam Hochberg (Etai Benson), a wounded vet who is working as a ballet rehearsal pianist. When Adam invites Jerry to sketch the dancers at the ballet, the action quickly escalates as conniving rich American Milo Davenport (Emily Ferranti) pulls out her checkbook. She wishes to commission a new ballet, starring Lise, composed by Hochberg, and designed by Mulligan. But Lise’s obligation to the Baurel family, who rescued her from the Nazis, is ever-present, as is the steadfast love from their son Henri Baurel (Nick Spangler), a former War Resistance fighter who now dreams of marrying Lise.

The plot machinations provide perfect setups for such Gershwin ditties as “I Got Rhythm”, “I’ve Got Beginner’s Luck”, “The Man I love”, “Liza”, “’S Wonderful”, and “Shall We Dance”. Both Scribner and Dassin — who are accomplished ballet dancers — do well vocally, but Benson is a true Broadway performer who can really sing. And a first act dance exquisitely highlights Esty and the female ensemble in Wheeldon’s sensually rendered piece performed to Gershwin’s “Second Prelude.”   

The second act’s romantic entanglements work themselves out as Jerry moves steadily towards Lise (“Fidgety Feet”), Milo and Henri voice their disappointments in love (“Who Cares”), Henri fulfills his dream of performing (“I’ll Build a Stairway to Paradise”), and Adam and Milo muse over what might have been (“But Not For Me”).

But the true heart of this show is the beautiful fusion of dance and production design accomplished by Wheelson and his complete design team of Natasha Katz (Lights), Jon Weston (Sound), set & costumes (Bob Crowley) and production (59 Productions). And Rob Fisher’s adaptations and arrangements of Gershwin’s “Concerto in F” and “An American in Paris” move these works perfectly from the concert hall to the theater stage. As a perfect tribute to the Gershwins, the show closes with the elegant 1930s standard, “The Can’t Take That Away From Me” (Adam, Henri, Jerry).     

Pantages Theatre, 6223 Hollywood Blvd, Hollywood; Tue-Fri., 8pm;  Sat., 2 & 8pm; Sun, 1 & 6:30pm; through April 9. (800) 833-7698; or https://pantages-theatre.tickets-center.com;  2 hours, 20 minutes, one intermission