The National Tour of AN AMERICAN IN PARIS
*I wrote this right after I saw the show in February, but it is barely being published due to my poor commitment skills*
The first thing I said when the lights came up at the intermission of the national tour of An American in Paris was that the dancing was lovely. Because it really was. In fact, it was quite likely some of the best dancing I have ever seen take place in a musical. In fact, if I were to rank the best choreography I have seen in musicals, this show is easily in the top three, if not the top two. Not to mention, that the orchestrations were simply heavenly. If I were to rank orchestrations, this show would certainly be high on the list as well. However, if I were ranking this production on it's book, design, acting, and singing, then this production would easily be nearing the lower end of said rankings in each category. It's so fascinating to me, that despite An American in Paris having dancing and orchestrations that are utterly stunning, the show falls completely flat in about every other department. The current national tour of the 2015 musical, An American in Paris, lacks in good direction, casting (for the most part), and design, which is very upsetting for a show that wasn't very well written to begin with.
Based off of the 1951 film of the same name, An American in Paris shows a post World War II Paris, and a soilder by the name of Jerry Mulligan misses his train and decides to make his home in Paris. Mulligan is an aspiring artist, who befriends other aspiring artists, a composer named Adam Hochberg (also a World War II vetran) and Henri Baurel, who wishes to become a star on the nighclub circut. While visiting a ballet rehearsal, Jerry and Adam meet a dancer named Lise, who happens to be virtually promised to be married to Henri. They also meet a woman named Milo Davenport, who is looking to invest in the ballet. Impressed by their talents, she agrees to invest in the ballet, should they produce a ballet with Lise as the star, composed by Adam Hochberg, and scenery by Jerry Mulligan. Jerry and Adam fall in love with Lise, there is a love triangle with several characters in the show, and beautiful dancing ensues. If the way I am describing the plot is really bad, it is probably because it is.
First things first, Bob Richard's choreography is completely stunning. I would even say that the dancing alone is worth the price of admission. Richard's choreography is engaging, an eyeful to watch, and I can think of very few musicals that have better choreography than this musical. And of course it's beautiful, it's ballet. It is REAL ballet. Although I've seen ballet musicals, this was probably the most ballet heavy show that I have ever seen. The concerto at the top of the show put hearts in my eyes immediatley. The dancing of each member of the cast was simply heaveanly, as well. I would see this show again just so I can see the dancing again. Until this show, I would have never guessed that choreography and orchestrations could save a show for me. Which brings me to my next point...Christopher Austin's orchestrations were OUTSTANDING. This is another instance in this show, where this one element was one of the best I have ever seen in a production. The score, by George and Ira Gershwin, is just as wonderful as you would expect. When I looked at the song list before the show, I knew we would be in for a musical treat. Richard's choreography, paired with Austin's orchestrations made for a really gorgeous experience. I am quite honestly at a loss for words because of these two elements of the show.
Now that I have gotten that out of the way, I have to move on to what I didn't like about An American in Paris, which is a lot. The book (by Craig Lucas) and simply the plot in general, is not good. In fact, I would even go as far as to say that the book is bad. I will admit that I haven't seen the movie, so I don't know how different they are, but this show leaves a bad impression of the title, An American in Paris, in my brain. The characters are pretty poorly written and our protagonist, Jerry Mulligan, is completely unlikeable. What I keep bringing it back to in my head is that his main love interest, Lise, says no to his romantic propositions several times throughout the show. He follows her around and begs her to meet him every single day, no matter how many times she says no. How am I supposed to root for this insane stalker? In the opening sequence alone, he chases her and then later on he shows up to her place of work and no matter how many times she asks him to leave, HE STAYS AND KEEPS BOTHERING HER WHILE SHE'S AT WORK. Why are we romanticizing Jerry's creepy actions? SHE SAID NO. Need I mention the fact that he sings a whole song about how he doesn't like her name? I'm sorry but I can't get behind a musical where the lead character does such things and is simply an unlikable character in general.
I also have already mentioned in this review that the show takes place after the Nazi rule of France, after World War II. The opening ballet in the musical depicts that there are still Nazi sympathizers in Paris and we see one being attacked by a crowd. It is heavily implied that the character of Milo Davenport may have been one. However, that doesn't go anywhere. I have already confessed that I haven't seen the film, so I don't know if the film goes into more detail, but that topic feels glossed over in this musical adaptation. I understand that it doesn't have much to do with the events of the plot, but if the director (Jeffrey B. Moss) is going to fire that Checov gun by including it in the staging and imagery of the show, then why didn't he do more with it in the staging. This is more at the fault of Lucas, but I do think that Moss could have solved this issue with the plot through direction, but instead he adds to the problem. Furthermore, the book itself just is not very engaging and it just isn't a story that is well told. The plot isn't well developed, the characters are flat, and I just don't find any of the show to be very well connected. I don't feel as if there were stakes, character development, or anything to make this show more interesting. It just lies there.
I feel as if Moss could have done a lot with this piece. The book is not very well written, but I do think there is a lot of potential to make it an enjoyable show through the direction of the piece. For instance, I am very interested in seeing a darker take on the show. Through Lucas' book, I think that there could have been something strangely powerful through the characters singing the Gershwin classic, "I've Got Rythym" in a more gloomy version of France, that was just occupied by the Nazis. The direction of the show doesn't do anything to make the show interesting. There maybe isn't anything wrong per say, but I really think that through a more creative staging, that a lot of the book could have come across a lot better. Instead, some of the plot elements become a little bit more confusing and I just think that the entire show, aside from the dancing, kind of just sits there, as a result of a poor book and a staging that is only just acceptable.
Moss also incorporates video elements (Video Design by Jonathan Infante) into the production and I feel as if this takes away a bit from the show. The last moment of the show is a projection, but I think that had they just left it as a moment of staging, it would have been pretty. The show opens with a video about how World War II was ending in France and tells us about the social and political elements of France at that time and although it is meant to establish the time period and put a little bit more power behind the show, it really didn't add anything. In fact, I can't even remember what exactly they said in the video. Because quite frankly, it just wasn't important. The main scenic design (by Randel Wright) was mostly unattractive, but I do think that there were some backgrounds that were quite lovely. The final projected background that is used in the show, was really quite beautiful. However, none of the directorial or technical elements of the show stuck out to me, otherwise.
I hate to say it, but I did not think this production was very well cast. The leads, Branson Bice (playing Jerry Mulligan) and Fiona Claire Huber (playing Lise Dassin), were clearly only cast for their first class dancing abilities, but not for their singing or acting abilities. It was kind of hard to listen to the two of them sing each of their songs, because they didn't sound trained or pleasant at all. It also didn't help that they give one dimensional portrayals of roles that were not very well written to begin with.
The standouts were Daniel Cardenas and TJ Lamando as Henri Baurel and Adam Hochberg, respectively. They were both in top forms in both singing and acting. Cardenas was so likable as Henri and was thoroughly entertaining to watch. Lamando has a gorgeous singing voice and his portrayal of the role was easily one of the most well developed in the entire show. Every time either Cardenas or Lamando came onstage, I knew that we were going to be in for a treat. Bella Muller was also quite wonderful as Milo Davenport. The three people I mentioned in this paragraph make up a bit of the supporting cast, but they could each easily lead a musical of their own. I truly loved each of their performances.
I think that the ultimate problem with An American in Paris is that there is so much focus on the dancing, that the story itself gets pushed way to far to the side. I didn't not enjoy An American in Paris, but when a story isn't well written and when a show isn't well cast, directed, or designed, you simply can't pretend that it was good. But the choreography and the orchestrations were so lush and flawless that I simply can't say that it was bad either. I've been listening to the cast album while I've been writing this review and honestly, it's a nice album. I am interested in seeing the professionally filmed version of the West End production, to see if I like it anymore, since the direction and design of this touring production were completely different than that of the original Broadway and West End production. However, this touring production of An American in Paris does not do the writing any favors and honestly, I would rather see this show with only the dancing and orchestrations. But at that point, it would just be a ballet. Which is fine too, considering that the dancing made the show. And what beautiful dancing it was.
AN AMERICAN IN PARIS
The first thing I said when the lights came up at the intermission of the national tour of An American in Paris was that the dancing was lovely. Because it really was. In fact, it was quite likely some of the best dancing I have ever seen take place in a musical. In fact, if I were to rank the best choreography I have seen in musicals, this show is easily in the top three, if not the top two. Not to mention, that the orchestrations were simply heavenly. If I were to rank orchestrations, this show would certainly be high on the list as well. However, if I were ranking this production on it's book, design, acting, and singing, then this production would easily be nearing the lower end of said rankings in each category. It's so fascinating to me, that despite An American in Paris having dancing and orchestrations that are utterly stunning, the show falls completely flat in about every other department. The current national tour of the 2015 musical, An American in Paris, lacks in good direction, casting (for the most part), and design, which is very upsetting for a show that wasn't very well written to begin with.
Based off of the 1951 film of the same name, An American in Paris shows a post World War II Paris, and a soilder by the name of Jerry Mulligan misses his train and decides to make his home in Paris. Mulligan is an aspiring artist, who befriends other aspiring artists, a composer named Adam Hochberg (also a World War II vetran) and Henri Baurel, who wishes to become a star on the nighclub circut. While visiting a ballet rehearsal, Jerry and Adam meet a dancer named Lise, who happens to be virtually promised to be married to Henri. They also meet a woman named Milo Davenport, who is looking to invest in the ballet. Impressed by their talents, she agrees to invest in the ballet, should they produce a ballet with Lise as the star, composed by Adam Hochberg, and scenery by Jerry Mulligan. Jerry and Adam fall in love with Lise, there is a love triangle with several characters in the show, and beautiful dancing ensues. If the way I am describing the plot is really bad, it is probably because it is.
First things first, Bob Richard's choreography is completely stunning. I would even say that the dancing alone is worth the price of admission. Richard's choreography is engaging, an eyeful to watch, and I can think of very few musicals that have better choreography than this musical. And of course it's beautiful, it's ballet. It is REAL ballet. Although I've seen ballet musicals, this was probably the most ballet heavy show that I have ever seen. The concerto at the top of the show put hearts in my eyes immediatley. The dancing of each member of the cast was simply heaveanly, as well. I would see this show again just so I can see the dancing again. Until this show, I would have never guessed that choreography and orchestrations could save a show for me. Which brings me to my next point...Christopher Austin's orchestrations were OUTSTANDING. This is another instance in this show, where this one element was one of the best I have ever seen in a production. The score, by George and Ira Gershwin, is just as wonderful as you would expect. When I looked at the song list before the show, I knew we would be in for a musical treat. Richard's choreography, paired with Austin's orchestrations made for a really gorgeous experience. I am quite honestly at a loss for words because of these two elements of the show.
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| Branson Bice (Jerry Mulligan) and Fiona Claire Huber (Lise Dassin) in the national tour of An American in Paris. |
Now that I have gotten that out of the way, I have to move on to what I didn't like about An American in Paris, which is a lot. The book (by Craig Lucas) and simply the plot in general, is not good. In fact, I would even go as far as to say that the book is bad. I will admit that I haven't seen the movie, so I don't know how different they are, but this show leaves a bad impression of the title, An American in Paris, in my brain. The characters are pretty poorly written and our protagonist, Jerry Mulligan, is completely unlikeable. What I keep bringing it back to in my head is that his main love interest, Lise, says no to his romantic propositions several times throughout the show. He follows her around and begs her to meet him every single day, no matter how many times she says no. How am I supposed to root for this insane stalker? In the opening sequence alone, he chases her and then later on he shows up to her place of work and no matter how many times she asks him to leave, HE STAYS AND KEEPS BOTHERING HER WHILE SHE'S AT WORK. Why are we romanticizing Jerry's creepy actions? SHE SAID NO. Need I mention the fact that he sings a whole song about how he doesn't like her name? I'm sorry but I can't get behind a musical where the lead character does such things and is simply an unlikable character in general.
I also have already mentioned in this review that the show takes place after the Nazi rule of France, after World War II. The opening ballet in the musical depicts that there are still Nazi sympathizers in Paris and we see one being attacked by a crowd. It is heavily implied that the character of Milo Davenport may have been one. However, that doesn't go anywhere. I have already confessed that I haven't seen the film, so I don't know if the film goes into more detail, but that topic feels glossed over in this musical adaptation. I understand that it doesn't have much to do with the events of the plot, but if the director (Jeffrey B. Moss) is going to fire that Checov gun by including it in the staging and imagery of the show, then why didn't he do more with it in the staging. This is more at the fault of Lucas, but I do think that Moss could have solved this issue with the plot through direction, but instead he adds to the problem. Furthermore, the book itself just is not very engaging and it just isn't a story that is well told. The plot isn't well developed, the characters are flat, and I just don't find any of the show to be very well connected. I don't feel as if there were stakes, character development, or anything to make this show more interesting. It just lies there.
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| Fiona Claire Huber (Lise Dassin) and the ensemble of the national tour of An American in Paris. |
I feel as if Moss could have done a lot with this piece. The book is not very well written, but I do think there is a lot of potential to make it an enjoyable show through the direction of the piece. For instance, I am very interested in seeing a darker take on the show. Through Lucas' book, I think that there could have been something strangely powerful through the characters singing the Gershwin classic, "I've Got Rythym" in a more gloomy version of France, that was just occupied by the Nazis. The direction of the show doesn't do anything to make the show interesting. There maybe isn't anything wrong per say, but I really think that through a more creative staging, that a lot of the book could have come across a lot better. Instead, some of the plot elements become a little bit more confusing and I just think that the entire show, aside from the dancing, kind of just sits there, as a result of a poor book and a staging that is only just acceptable.
Moss also incorporates video elements (Video Design by Jonathan Infante) into the production and I feel as if this takes away a bit from the show. The last moment of the show is a projection, but I think that had they just left it as a moment of staging, it would have been pretty. The show opens with a video about how World War II was ending in France and tells us about the social and political elements of France at that time and although it is meant to establish the time period and put a little bit more power behind the show, it really didn't add anything. In fact, I can't even remember what exactly they said in the video. Because quite frankly, it just wasn't important. The main scenic design (by Randel Wright) was mostly unattractive, but I do think that there were some backgrounds that were quite lovely. The final projected background that is used in the show, was really quite beautiful. However, none of the directorial or technical elements of the show stuck out to me, otherwise.
I hate to say it, but I did not think this production was very well cast. The leads, Branson Bice (playing Jerry Mulligan) and Fiona Claire Huber (playing Lise Dassin), were clearly only cast for their first class dancing abilities, but not for their singing or acting abilities. It was kind of hard to listen to the two of them sing each of their songs, because they didn't sound trained or pleasant at all. It also didn't help that they give one dimensional portrayals of roles that were not very well written to begin with.
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| Daniel Cardenas (Henri Baurel), TJ Lamando (Adam Hochberg), Branson Bice (Jerry Mulligan), and the cast of the national tour of An American in Paris. |
The standouts were Daniel Cardenas and TJ Lamando as Henri Baurel and Adam Hochberg, respectively. They were both in top forms in both singing and acting. Cardenas was so likable as Henri and was thoroughly entertaining to watch. Lamando has a gorgeous singing voice and his portrayal of the role was easily one of the most well developed in the entire show. Every time either Cardenas or Lamando came onstage, I knew that we were going to be in for a treat. Bella Muller was also quite wonderful as Milo Davenport. The three people I mentioned in this paragraph make up a bit of the supporting cast, but they could each easily lead a musical of their own. I truly loved each of their performances.
I think that the ultimate problem with An American in Paris is that there is so much focus on the dancing, that the story itself gets pushed way to far to the side. I didn't not enjoy An American in Paris, but when a story isn't well written and when a show isn't well cast, directed, or designed, you simply can't pretend that it was good. But the choreography and the orchestrations were so lush and flawless that I simply can't say that it was bad either. I've been listening to the cast album while I've been writing this review and honestly, it's a nice album. I am interested in seeing the professionally filmed version of the West End production, to see if I like it anymore, since the direction and design of this touring production were completely different than that of the original Broadway and West End production. However, this touring production of An American in Paris does not do the writing any favors and honestly, I would rather see this show with only the dancing and orchestrations. But at that point, it would just be a ballet. Which is fine too, considering that the dancing made the show. And what beautiful dancing it was.
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Music and Lyrics by George and Ira Gershwin
Book by Craig Lucas
Directed by Jeffery B. Moss
Choreography by Bob Richard
At the time I saw the show, the cast of the national tour of AN AMERICAN IN PARIS consisted of:
Jerry Mulligan- BRANSON BICE
Lise Dassin- FIONA CLAIRE HUBER
Henri Baurel- DANIEL CARDENAS
Adam Hochberg- TJ LAMANDO
Lise Dassin- FIONA CLAIRE HUBER
Henri Baurel- DANIEL CARDENAS
Adam Hochberg- TJ LAMANDO
Milo Davenport- BELLA MULLER
Madame Baurel- JESSE GRAHAM GALAS
Monsuier Baurel- CHRIS CARSTEN
Madame Baurel- JESSE GRAHAM GALAS
Monsuier Baurel- CHRIS CARSTEN
Mr. Z- KYLE JAMES ADAM
Olga- MAUREEN DUKE
Olga- MAUREEN DUKE
Ensemble- KYLE JAMES ADAM, JOSHUA BEAVER, MAUREEN DUKE, BLAIR ELY, MAVERICK HIU, DAKOTA HOAR, ELLEN MIHALICK, LIBBY RIDDICK, LOGAN J. RISSER, PAIGE SABO, MICHAEL TOMLINSON, SHANNON WEIR
Dance Captain- NICOLE JONES
Swings- NICOLE JONES, DARREN McARTHUR
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