by Mark G. Auerbach
The ensemble of An American in Paris at The Bushnell. Photo by Matthew Murphy.
Forget whatever you have on your weekend agenda, and head to The Bushnell to catch An American in Paris. It’s a sensory overload for the eyes and the ears, and a real pick-me-up for those lucky enough to see it. Beautiful music, choreography that lifts even the foulest mood, fine performances, and a dazzling production are the perfect antidote to the post-election blahs, the coming of winter, and well, just about anything. And, in a year of some great musical theatre in the area, when I thought it couldn’t get any better than Anastasia at Hartford Stage, well, it does..An American in Paris is the creme de la creme.
There’s nothing as thrilling or exciting as a Gershwin musical with a simple “boy meets girl, boy loses girl, boy gets girl” plot, a happy ending, and some dynamic dancing. Of course, the Gershwins did it themselves plenty of times, but they’re long gone, so Broadway goes back to the Gershwin treasure trove and tries to recreate the magic, as they’ve done with My One and Only in the 1980s, Crazy for You a decade later, and more recently, Nice Work If You Can Get It. An American in Paris is superlative to the others.
The ensemble of An American in Paris at The Bushnell. Photo by Matthew Murphy.
Playwright Craig Lucas adapted An American in Paris from the 1951 film of the same name, using the Gershwin’s music from the film and other songs from the Gershwins’ catalogue, including “I Got Rhythm”, “S’Wonderful”, “They Can’t Take That Away From Me” and the less familiar “FidgetyFeet.” With staging and choreography by the talented Christopher Wheeldon, the musical opened in Paris in 2014, transferred to Broadway the following Spring, won four Tony Awards, and was a hot ticket, until it closed last month. This production of An American in Paris, featuring many members of the Broadway company, and Bob Crowley’s spellbinding sets and costumes, and Natasha Katz’s exquisite lighting, just began its national tour a couple of weeks ago in Boston.
The technical prowess of this large dance ensemble is astonishing, whether they’re performing the title ballet with the syncopation usually seen at the best ballet companies, or jazzing it up with the show-stopping “Fidgety Feet”, or giving it the Broadway razzle-dazzle of “I’ll Build A Stairrway to Paradise”. Wheeldon’s choreography is challenging, yet lyrical, and both theatre audiences and balletomanes will be well-satisfied.
Garen Scribner and Sara Esty dance the leading roles to perfection, and their acting is convincing and their singing charming. She’s fluid and ethereal; he soars. Etai Benson, Nick Spangler, and Emily Ferrante are delightful in supporting roles. The Gershwin score with a large pit orchestra, well-adapted by Rob Fisher, orchestrated by Christopher Austin and Bill Elliott, and briskly conducted by David Andrews Rogers.would have made George and Ira proud.
Sara Esty and Garen Scribner headline the cast of An American in Paris at The Bushnell. Photo by Matthew Murphy
Whether you view An American in Paris as musical theatre with a lot of dancing or as ballet with some great showtunes, this is a first class production of a top quality musical. I am so glad I had the opportunity to see this.
An American in Paris plays at The Bushnell through Sunday, November 20. Note: Ryan Steele replaces Garen Scribner on Saturday matinee and Sunday evening, and Leigh-Ann Esty replaces Sara Esty on Sunday afternoon.
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The Bushnell presents An American in Paris. Music and lyrics by George Gershwin and Ira Gershwin. Book by Craig Lucas. Directed by Christipher Wheeldon. Music direction by David Andrews Rogers. Scenic and costume design by Bob Crowley. Lighting design by Natasha Katz. Sound design by John Weston. Projection Design by 59 Productions..Music score adapted, arranged and supervised by Rob Fisher. Orchestrations by Christopher Austin and Bill Elliott.. Stars Garen Scribner abd Sara Esty. Through November 20..The Bushnell, Hartford, CT. For tickets: 860-987-5900 or www.bushnell.org..
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Mark G. Auerbach studied theatre at American University and the Yale School of Drama. He’s worked for arts organizations and reported on theatre for newspapers and radio.
