‘American in Paris’ choreographer living a dream

Pittsburgh Post-Gazette

Christopher Wheeldon, the darling of the ballet world, became the toast of Broadway as director-choreographer of “An American in Paris.” The show earned 12 Tony Award nominations, including two for Mr. Wheeldon, who won for choreography.

The 44-year-old U.K. native emerged from London’s Royal Ballet to become a resident choreographer of the New York City Ballet. He also was the subject of the 2007 Emmy Award-winning documentary “Strictly Bolshoi,” as the first Brit commissioned to create a work for the prestigious Russian ballet company. “An American in Paris” brought him back to Broadway for the second time, after the “Sweet Smell of Success” — music by Marvin Hamlisch — in 2002.

In April, while Mr. Wheeldon was in London preparing the West End production of “An American in Paris,” he was one of a trio of New York Times interviewees under the heading, “A Conversation With 3 Choreographers Who Reinvigorated Ballet” (Alexei Ratmansky and Justin Peck were the others). He recently conversed via email about perfecting the balancing act between Broadway and ballet.

Question: I was just reading an interview where you talk about re-creating the set of “Starlight Express” as a boy. So have you always been a little bit ballet, a little bit Broadway?

Answer: Yes musicals and pantomime were my first introduction to theater. Going to the ballet came later after I started studying. We used to listen to cast albums of shows in the car on our way to holiday. I think if I could have sung I would have been in musicals.

Q: What is opening night like for a new ballet vs. what you experienced on Broadway?

A: There is so much more riding financially on a Broadway show. Broadway opening nights are a bit more of an event than at the ballet. They are essentially an excuse, and a good one, for the producers to celebrate their hard work pulling the show together.

Q: How much do you stay involved with the new companies of “An American in Paris,” and with more companies being developed (for tours and in different countries), do you look for dancers who can carry a tune — or has it been the case that if they can do the dance, which implies that they can act, of course, the rest will follow?

A: Being a good dancer doesn’t necessarily mean that the acting/speaking is natural. They act with their bodies but not with their voices. So a natural singing and speaking voice is what we look for. I am actually very involved in the other productions, in the casting and rehearsing of new casts.

Q: How much reimagining has the tour undergone — for instance, moving the show from the relatively small Palace to huge regional houses?

A: The show looks, moves and sounds almost exactly like it did on Broadway, give or take a few pretty unnoticeable adjustments. We made a few changes to the book and to the choreography, but if you had seen the Broadway version its unlikely you’d notice.

Q: You were an in-demand choreographer before “An American in Paris,” but how has this experience changed the kind of offers you get? Any off-the-wall ideas come your way?

A: I’m very fortunate to be in a position to be able to choose projects very carefully. It’s very tempting to say yes to all that comes your way. Nothing really off the wall, but certainly some interesting ideas.

Q: With the Tony Awards rolling around soon, what was that night like for you?

A: Unforgettable. Glamorous, nerve-wracking, magical. The kind of event you can only dream of attending as a kid. I felt like that little kid suddenlyliving that dream.

Q: Are there any anecdotes — the people you’ve met, a specific experience — that you can share about your time working on the show?

A: Singling out one experience would be hard. I think what I took away with me, or what resonated the most, was the support I received as a first-time director, from the team and the producers. The sense of collaboration was incredible. We really worked together to create this show. Van Kaplan from Pittsburgh CLO was one of my closest collaborators. He was an endless source of sound advice and gentle support.

Q: Anything else you’d like to say to Pittsburgh audiences?

A: Sit back, enjoy and let the music, dancing and romance sweep you away from the terrors of the world for a couple of hours. Nothing like Gershwin to soothe like a balm to the soul.