RIGHT IN STEP
‘American in Paris’ is aglow in City of Light
AJOYOUS ex-G.I. in “An American in Paris” can’t contain the thrill of finding the girl of his dreams. So he sings a Gershwin tune, “I’ve Got Beginner’s Luck.” But the reason this beautiful ballet-happy show is so richly satisfying isn’t luck. It’s about director and choreographer Christopher Wheeldon.
Guiding his first musical, Wheeldon, of London’s Royal Ballet, shows a vibrant vision and buckets of imagination, transforming the 1951 Gene Kelly-Leslie Caron film that inspires the show. He’s also got a cast and design team at the top of their game.
In the City of Light, still reeling from the war, our G.I., Jerry Mulligan (Robert Fairchild), tries to start anew. He’s joined by new pals Adam (an endearing Brandon Uranowitz), a composer, and Henri (Max von Essen, brilliant), a wannabe performer. They all fall unwittingly for local girl Lise (Leanne Cope). It’s complicated. It’s also a musical, so there’s a happy ending.
Using George and Ira Gershwin tunes from the film, like “I Got Rhythm,” “(I’ll Build a) Stairway to Paradise” and “’S Wonderful,” Wheeldon packs the show with nearly wall-to-wall dance. Whether the cast is pirouetting and on toe or doing synchronized high kicks à la Busby Berkeley, the movements are elegant and energetic, witty and romantic.
Wisely, the production doesn’t retrace the movie. Gershwin songs like “Fidgety Feet” and “I’ve Got Beginner’s Luck” have been added. The movie’s famous extended centerpiece ballet is staged with fresh coats of inspiration.
Working with book writer Craig Lucas, Wheeldon has darkened the drama a bit and added backstories. Characters are brought to life by a sterling cast of stage and dance vets.
No surprise that Fairchild, of New York City Ballet, is a great dancer. But he’s a dreamboat singer and actor who makes everything look as easy as breathing. ’S wonderful? The guy’s even better — ’s revelation. Cope, of the Royal Ballet, is a pixie-sized powerhouse dancer who brings up the emotion in “The Man I Love.”
Jill Paice shines in the supporting role of an art patron as interested in Jerry’s physique as his etchings. The reliable Veanne Cox adds laughs and poignance as Henri’s mother, a woman with a brittle exterior and sweet center.
Designer Bob Crowley’s wonderful sets are as light-footed as the dancers. Gliding panels and screens evoke Paris streets, a park by the Seine, jazz clubs and airy apartments set for seduction. Projections by 59 Productions and Natasha Katz’s romantic lighting add to the atmosphere.
“An American in Paris” is at its best whenever it’s in motion, which is often. Occasionally the show stubs its toes on corny jokes and book scenes that could use a bit more finesse, such as Jerry’s clunky wartime reflections. That’s nitpicking — just a bit of minor turbulence during this lighter-than-air ride.
jdziemianowicz@nydailynews.com