#26
Posted: 11/26/14 at 12:13pm
Wow the snippets of the show shown on the dailymotion tease are gorgeous. The sets look ravishing. Can't wait till it gets to New York.
An American in Paris first performance — Page 2
#27
Posted: 11/26/14 at 4:31pm
There are four ballets with : " concerto in f for piano and orchestra", "second rhapsody for piano and orchestra", "an American in Paris" and the epilogue. The first rhapsody (also known as rhapsody in blue) is not in the show.
#28
Posted: 11/26/14 at 5:02pm
Looks like a great cast and the production design looks beautiful, but I still think that orchestra sounds dreadful in all clips. Whether a 12 piece chamber, a big (by Broadway standards) 30 piece orchestra or, as linked in someone else's post, the 100+ LA Phil, one of the marks of a great orchestral performance is that that happy band sounds like one glorious machine moving as one, not as a bunch of individual musicians who just happen to be playing the same music. They sound so squeaky and rag tag. If that sounds excessively nit-picky, I'm sorry, but this is Gershwin. Easily the most celebrated American composer of the 20th century. They need to get it right in NY.
#29
Posted: 11/26/14 at 5:11pm
Don't be silly. Of course they will "get Gershwin right" in New York.
#30
Posted: 11/26/14 at 5:22pm
Is there a different creative team in NY? Or are we saying that French musicians can't play Gershwin?
#31
Posted: 11/26/14 at 6:31pm
The 21 musicians of the orchestra do a pretty good job of it. I was surprised of the quality of their "gershwin sound". Because modern orchestration is not anymore, due to the size of Broadway theatre, about full strings or horns sections, it is of course different of what you could expect from the movie. But it is actually lighter and more expressive I think. The French musicians can of course too play Gershwin as they could play Bernstein or Loewe..... But because it is the orchestra of the Theatre du Chatelet, it will be a different on in NYC (probably looking exactly the same)
#32
Posted: 11/29/14 at 6:45pm
Been a Gershwin addict for decades having seen Crazy For You 7 times back in the days, Porgy, et al in all its iterations and attended many other Gershwin shows, musicals, tributes, concerts at Lincoln Center, etc. and other venues over the years.
I have been keeping an eye on this show to see how it fares in Paris and saw on the french theater's website that the show is completely sold out for its entire run. There are some clips on there and it does look like it's got legs, no pun intended! But for a 2,700 seat theater to be sold out already is good enough for me to buy tickets for NY. Can't quite get the feel or form an opinion of the orchestral sound (quite important, obviously) through a small computer speaker, but this show looks like it could be a real winner! Looking forward to seeing another Gershwin musical...can't get enough!!
I have been keeping an eye on this show to see how it fares in Paris and saw on the french theater's website that the show is completely sold out for its entire run. There are some clips on there and it does look like it's got legs, no pun intended! But for a 2,700 seat theater to be sold out already is good enough for me to buy tickets for NY. Can't quite get the feel or form an opinion of the orchestral sound (quite important, obviously) through a small computer speaker, but this show looks like it could be a real winner! Looking forward to seeing another Gershwin musical...can't get enough!!
#33
Posted: 12/1/14 at 5:56am
I saw this in Paris last night and its ravishing - the French audience adored it. Its really in terrific shape for six performances into an out-ot-town tryout. The choreography is out of this world. Some of the ballets - the main one and an exquisite one set in Galleries Lafayette are nearly complete shows in their own right. The book (which is lovely and simple and perfectly in tune with the era it is set in - no irony or knowingness) may be tightened a little before Broadway. All the principals appear to be triple threats and play with a lovely warmth and simplicity. Seeing it at the Chatelet and walking out into the mist afterwards felt like Bob Crowley's fluid, impressionistic sets had seeped out into the entire city.
#34
Posted: 12/1/14 at 1:51pm
Hey Dubliner,
Wow, what a great review. If only your perspective will be that of the NY reviewers. I surely hope so. Hard to say if selling out the Chatelet for a limited run can translate into an expectation for NY. It would be wonderful if it turns out that way. Again, one of my concerns (maybe overly concerned) is if the transcription of large orchestral works with their own very distinctive sounds can and will work well in a much smaller setting. These works are not being rearranged and reorchestrated to simply backup singers, they are supporting only choreography and as such are totally exposed. I will be attending the official French premiere next week and have only the greatest hopes and best wishes for a smashing success.
Wow, what a great review. If only your perspective will be that of the NY reviewers. I surely hope so. Hard to say if selling out the Chatelet for a limited run can translate into an expectation for NY. It would be wonderful if it turns out that way. Again, one of my concerns (maybe overly concerned) is if the transcription of large orchestral works with their own very distinctive sounds can and will work well in a much smaller setting. These works are not being rearranged and reorchestrated to simply backup singers, they are supporting only choreography and as such are totally exposed. I will be attending the official French premiere next week and have only the greatest hopes and best wishes for a smashing success.
Updated On: 12/1/14 at 01:51 PM
#35
Posted: 12/1/14 at 1:51pm
Sorry, duplicate message.
Updated On: 12/1/14 at 01:51 PM
#36
Posted: 12/1/14 at 2:31pm
Wow, Dubliner--your post probably just doubled my already high level of anticipation for this production!
#37
Posted: 12/1/14 at 5:10pm
Dubliner, after reading your post I immediately purchased tickets to the show in NY in March, not even waiting until it opens as I want to make sure I get to see this show.
Curious3, I've seen many Gershwin concerts and Gershwin-themed Broadway shows. Although I understand your concern with the various nuances and layers contained within Gershwin compositions and important instrumentations, I am prepared to see a Broadway show, singing, dancing, scenery, lighting etc., not a NY Philharmonic concert. Would it be perfect to have a show backed up by a full blown orchestra? Oh my, yes!! That would be heaven to me. But I've found over the years it's not realistic, when it comes to B'Way shows and theaters, and have come to fully appreciate just having the opportunity to take in the entire experience of hearing ANY professionally played and sung Gershwin music set to, as I said, choreography, stories, characters ie; the overall experience, WITHOUT having that expectation. I don't have any pre-conconcieved notions that if I don't hear a precisely symphonied orchestrated score as conducted by a "Michael Tilson Thomas", of every instrumental note, that I'm NOT going to enjoy this show. Of course, it should have credibility and not undermine the score, which I cannot believe this show has done, even without seeing it. The orchestrator and musical scorer I'm sure are no slouches, especially when it involves the Gershwin Estate's approval of such work. THEY (Estate) are probably the most critical out of all of us, I imagine. But I guess we all have our own little "nuances" on what we expect and perhaps one's disappointment could be another's pure joy - ala Dubliner's experience.
I, for one, am very much looking forward to seeing this show now!!
Curious3, I've seen many Gershwin concerts and Gershwin-themed Broadway shows. Although I understand your concern with the various nuances and layers contained within Gershwin compositions and important instrumentations, I am prepared to see a Broadway show, singing, dancing, scenery, lighting etc., not a NY Philharmonic concert. Would it be perfect to have a show backed up by a full blown orchestra? Oh my, yes!! That would be heaven to me. But I've found over the years it's not realistic, when it comes to B'Way shows and theaters, and have come to fully appreciate just having the opportunity to take in the entire experience of hearing ANY professionally played and sung Gershwin music set to, as I said, choreography, stories, characters ie; the overall experience, WITHOUT having that expectation. I don't have any pre-conconcieved notions that if I don't hear a precisely symphonied orchestrated score as conducted by a "Michael Tilson Thomas", of every instrumental note, that I'm NOT going to enjoy this show. Of course, it should have credibility and not undermine the score, which I cannot believe this show has done, even without seeing it. The orchestrator and musical scorer I'm sure are no slouches, especially when it involves the Gershwin Estate's approval of such work. THEY (Estate) are probably the most critical out of all of us, I imagine. But I guess we all have our own little "nuances" on what we expect and perhaps one's disappointment could be another's pure joy - ala Dubliner's experience.
I, for one, am very much looking forward to seeing this show now!!
#38
Posted: 12/1/14 at 5:12pm
This production sounds wonderful! I hope it's everything that it has been described and MORE.
An American in Paris is one of my all time favorite movies - - - I've owned it in every conceivable home video format. It's an ESSENTIAL in my home library. I can't imagine myself without a copy...EVER!!
An American in Paris is one of my all time favorite movies - - - I've owned it in every conceivable home video format. It's an ESSENTIAL in my home library. I can't imagine myself without a copy...EVER!!
#39
Posted: 12/1/14 at 5:23pm
.>The orchestrator and musical scorer I'm sure are no slouches, especially when it involves the Gershwin Estate's approval of such work. THEY (Estate) are probably the most critical out of all of us, I imagine.
Don't give too much credit to the Gershwin Estate. Artistic quality is not on the top of their list. They were the ones who allowed a turd to be dropped on Porgy and Bess.
Don't give too much credit to the Gershwin Estate. Artistic quality is not on the top of their list. They were the ones who allowed a turd to be dropped on Porgy and Bess.
#40
Posted: 12/1/14 at 9:35pm
Ah, mon amie, vous parlez l'anglais tres bien! Je suis si heureuse que vous aimez ce piece de theatre.
I just saw the film in the spring and loved it. You can bet I'll be seeing this too. I'm actually going to Encores Lady Be Good in February, but I can't get enough Gershwin!!
I just saw the film in the spring and loved it. You can bet I'll be seeing this too. I'm actually going to Encores Lady Be Good in February, but I can't get enough Gershwin!!
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#41
Posted: 12/2/14 at 12:40pm
Am in complete agreement with the admirers of this show in its current Parisian incarnation. I saw the preview on Sunday and it really is exquisite.
It's a musical for grown-ups: the moral dilemmas in the plot, the sophisticated Gershwin score and the extended use of ballet (even the scene changes are choreographed, and wonderfully so). Christopher Wheeldon has done a glorious job.....any other musical opening this season on Broadway had better be pulling something pretty damn special out of the bag to have a hope in Hell of the Tony for Best Choreography, and possibly Best Direction too.
Bob Crowley's designs are ravishing and elegant, quite spare but classily so. Coming out into the Place du Chatelet after the show didn't break the spell cast, although Times Square next year could be a rude awakening....
And then there is the casting....just WOW. The ensemble switch from jazz to tap to classical ballet and back again, while also singing the complex harmonies to perfection (admittedly, not at the same time but COME ON!!) Leanne Cope is a charming gamine; of course a terrific dancer but with a sweetly expressive singing voice, and projecting an irresistible vulnerability. Max Von Essen and Brandon Uranowitz are utterly perfect as the second tier male leads, while Veanne Cox is a delight as a cliche of the elegant, self-contained, rich Parisian lady.
I've left the best until last: ROBERT FAIRCHILD. We already knew the man could dance (and how) but what is truly special about this bona fide star performance is the ease, charm, wit and sex appeal he exudes. His comic timing is spot on, and his singing voice is just lovely. I couldn't take my eyes off him. He is more boyish than Gene Kelly, thereby for me anyway, making comparisons redundant. He does full justice to the legacy of the late great Mr Kelly and he is wonderful in his own right. It is also a GENUINE Musical Comedy performance, not just a ballet dancer doing their singing -and acting- "bit". Also, his first entrance is a simple but breathtaking coup de theatre.
The music sounds great although at intermission we felt it could be a little louder. Lo and behold, for the second half and especially the big ballet sequence, the sound acquired the sheer balls we thought it lacked. Hugely satisfying.
I went with two Americans who are veteran B'way theatregoers and they adored it, although they did point out that long term recasting to this standard could be problematic. As it stands now though, it is a classy delight, and one that every New Yorker who enjoys sophisticated, old fashioned (in the sense of being superbly crafted) musical theatre needs to see. If it doesn't become the hit it deserves to be, then it will be a sad indictment of how dumbed down Broadway theatre has become.
It's a musical for grown-ups: the moral dilemmas in the plot, the sophisticated Gershwin score and the extended use of ballet (even the scene changes are choreographed, and wonderfully so). Christopher Wheeldon has done a glorious job.....any other musical opening this season on Broadway had better be pulling something pretty damn special out of the bag to have a hope in Hell of the Tony for Best Choreography, and possibly Best Direction too.
Bob Crowley's designs are ravishing and elegant, quite spare but classily so. Coming out into the Place du Chatelet after the show didn't break the spell cast, although Times Square next year could be a rude awakening....
And then there is the casting....just WOW. The ensemble switch from jazz to tap to classical ballet and back again, while also singing the complex harmonies to perfection (admittedly, not at the same time but COME ON!!) Leanne Cope is a charming gamine; of course a terrific dancer but with a sweetly expressive singing voice, and projecting an irresistible vulnerability. Max Von Essen and Brandon Uranowitz are utterly perfect as the second tier male leads, while Veanne Cox is a delight as a cliche of the elegant, self-contained, rich Parisian lady.
I've left the best until last: ROBERT FAIRCHILD. We already knew the man could dance (and how) but what is truly special about this bona fide star performance is the ease, charm, wit and sex appeal he exudes. His comic timing is spot on, and his singing voice is just lovely. I couldn't take my eyes off him. He is more boyish than Gene Kelly, thereby for me anyway, making comparisons redundant. He does full justice to the legacy of the late great Mr Kelly and he is wonderful in his own right. It is also a GENUINE Musical Comedy performance, not just a ballet dancer doing their singing -and acting- "bit". Also, his first entrance is a simple but breathtaking coup de theatre.
The music sounds great although at intermission we felt it could be a little louder. Lo and behold, for the second half and especially the big ballet sequence, the sound acquired the sheer balls we thought it lacked. Hugely satisfying.
I went with two Americans who are veteran B'way theatregoers and they adored it, although they did point out that long term recasting to this standard could be problematic. As it stands now though, it is a classy delight, and one that every New Yorker who enjoys sophisticated, old fashioned (in the sense of being superbly crafted) musical theatre needs to see. If it doesn't become the hit it deserves to be, then it will be a sad indictment of how dumbed down Broadway theatre has become.
#42
Posted: 12/2/14 at 1:12pm
Thanks for your review ajh! I can't wait to see Robbie in this.
#43
Posted: 12/2/14 at 1:23pm
ajh: WOW!!!!!!!!!!!!!!!!!!!!!! Well, that just about does it for me!!
Thinking I can't wait until NY but the show is already sold out in Paris, UGH!!!
Thinking I can't wait until NY but the show is already sold out in Paris, UGH!!!
#44
Posted: 12/2/14 at 4:09pm
From the time I first saw Robert Fairchild at NYC ballet I thought that this fellow has all of the makings of a matinee idol. As a dancer he is one of the greats to come out of NYC ballet. I knew he had a background as a spectacular tap dancer but then to see his powerful technique and style in both classical and contemporary choreography, I knew he would rise to the very top of his art. Now to hear of his singing and acting skills, what can I say. I am so psyched to see this production next week in Paris, in fact I am going to opening night and returning the next night as well. I will happily report back afterwards.
#45
Posted: 12/2/14 at 4:28pm
These reviews make me want to jump on a plane and go to Paris immediately.
Granted, it doesn't take much to make me want to do that, but still...these reviews!
Granted, it doesn't take much to make me want to do that, but still...these reviews!
#46
Posted: 12/2/14 at 7:58pm
Great cover story on AN AMERICAN IN PARIS in December's "Dance Magazine". Nice pictures and interviews with Fairchild, Cope and Christopher Wheeldon. Take a look............
http://www.dancemagazine.com/issues/December-2014/A-Brit-An-American-Paris
http://www.dancemagazine.com/issues/December-2014/A-Brit-An-American-Paris
#47
Posted: 12/3/14 at 10:04am
#48
Posted: 12/3/14 at 10:31am
PalJoey, the theatre critic (Patrick Neido) in that clip you posted was an exchange student in CT my senior year of high school. I was supposed to see him last year when I was in Paris, but it never happened as he was traveling to NYC.
I can not wait to see this production. Ironically I had wanted to go to Paris this December, but since I started a new job, my time off is limited.
I can not wait to see this production. Ironically I had wanted to go to Paris this December, but since I started a new job, my time off is limited.
Hey Dottie!
Did your colleagues enjoy the cake even though your cat decided to sit on it? ~GuyfromGermany
#49
Posted: 12/3/14 at 4:02pm
Hope this show lives up to all of this (exciting to read) hype! I don't mean to be a Debbie Downer, but I do wonder if Broadway can sustain two ballet-heavy, romantic shows built largely around iconic music of beloved 20th C. American composers in one season. Hope so!
And, this probably makes me sound A8'ish, but it is a shame that it's very likely that the two greatest scores we'll hear on Broadway this season are by two men who've long since passed on. I mean, what could compare to Bernstein and Gershwin? JRB?
And, this probably makes me sound A8'ish, but it is a shame that it's very likely that the two greatest scores we'll hear on Broadway this season are by two men who've long since passed on. I mean, what could compare to Bernstein and Gershwin? JRB?
#50
Posted: 12/3/14 at 4:10pm
Amen, HorseTears. As I always say, anyone who thinks the classics are irrelevant never considered the REASON why they're still performed and loved 70 years later.
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