“An American in Paris” — the 2015 stage adaptation of Vincente Minnelli’s 1951 movie musical inspired by George Gershwin’s symphonic poem of the same name — is an ambitious piece. It has the structure of a Golden Age musical comedy and the dance demands of a ballet.
To pull it off, JCC CenterStage artistic director Ralph Meranto collaborated with the Draper Center for Dance Education artistic director Jamey Leverett to lead a cast of 12 ensemble performers and 15 young adult dancers. The result is a fine staging of this rarely produced show, playing through May 18.
The curtain opens on a limping American composer and loose George Gershwin insert Adam Hochberg (played amiably by Lucas Casey Brown), welcoming the audience to a city recovering from the “ashes of war.” Through jazz-infused ballet, post World War II Paris comes to life: a soldier reunites with his family in an emotional hug, and a vendor runs out of bread, hinting at economic turmoil. The American soldier Jerry Mulligan, (Gene Kelly’s role in the film, played here by winsome triple threat Joseph Davila), observes the good and the bad. He has a ticket to return home, but thanks to the magic of dance, chooses to stay in Paris and be an artist.
Jerry quickly befriends Adam, who invites him to a dance audition he is accompanying on piano. There he meets Milo Davenport, a spoiled socialite (played with nuance by Jenni Gilardoni), who takes an immediate liking to Jerry. But he only has eyes for standout ballerina Lise Dassin (played with a pinched French accent and standoffish air by Sarah Morgan, a California-based dancer making her Rochester debut). She has also attracted the ardor of Adam and their friend Henri Baurel (played by a jumpy, excitable George Barberi). Three men in love with one woman – can true love prevail?
When the 1951 film was released, American audiences were eager to escape the horror of war with feel-good entertainment. This stage adaptation, penned by playwright Craig Lucas, adds some historical context to round out the flimsy plot for contemporary audiences. Several characters are Jewish, and an Act II plot point hinges on a family’s role in resisting Nazis.
Despite these additions, the characters and plot generally exist as contrived excuses to sing catchy Gershwin tunes like “’S Wonderful” and “They Can’t Take That Away from Me,” deftly led by musical director Andrew Cooke. As a sweeping love story, the show falls short: Morgan and Davida lack the chemistry to sell the love between the generically good-natured Jerry and Lise, a woman whose romantic future depends on what men decide for her. However, as a visual spectacle of movement and color, it’s dazzling.
Leverett choreographed the dance-heavy two-and-a half-hour show, filling it with mini ballets, musical theater dance routines, and incidental movement in the background as the cast effortlessly moves around on pointe in ballet rehearsals or on the streets. The dynamic staging includes a creative use of bentwood chairs in “Fidgety Feet,” a masquerade scene in the “Rhapsody Ballet,” a crowd-pleasing kick line in “(I’ll Build a) Stairway to Paradise,” and a delightful “Paris Ballet” finale. The Draper dancers perform with a level of poise and craft that is a treat to witness and particularly impressive for high school students.
The costume design by Diane Spacher offers another layer of visual spectacle through an array of outfits for both leads and ensemble. Jerry dons a blue shirt and white pants that evoke Gene Kelly, and Lise a yellow dress inspired by the original Broadway production. The Draper girls wear a range of leotards and skirts showcasing different visions of French culture, from sparkly showgirl to a Pier Mondrian-inspired modern art design.
Jerry’s love of art is reflected in the gorgeous backdrop of the Paris skyline, featuring Eiffel Tower under clouds and lights poking through holes, which was handpainted by scenic designer John Haldoupis. His economical set design allows plenty of space onstage for the dancers by using oversized hanging painting frames and doors to indicate new locations. The fluidity of the set is complemented by the shifting colors of the lighting design by Jennifer DeHollander, which evoke the colors of the French flag as well as blues and greens of the Seine river.
Musicals, traditionally, have two romantic couples. This show’s secondary love story is Adam and art. At first, Adam is convinced art should reflect the horrors of war and modern society – his first attempt at “I’ve Got Rhythm” is a dirge. By the end, he falls in love with art for the sake of art, a similar mentality to the modernist painters who inspire the costumes and set of the final ballet. “An American in Paris” is a light and airy celebration of art; an appealing diversion from the darker realities it hints at then pirouettes away from.
“An American in Paris” runs through May 18 at JCC CenterStage. More info and tickets here.
Katherine Varga is a contributing writer to CITY.
This article appears in Dec 1-31, 2024.
