On Theater: A balletic 'American in Paris' rebirth

By Tom Titus

April 27, 2017 12 PM PT

With Broadway producers’ growing propensity for making live-stage musicals out of old movie hits (“All About Eve”/”Applause,” “The Apartment”/”Promises, Promises,” “Auntie Mame”/”Mame,” etc.), it’s a wonder they took so long to get around to “An American in Paris.”

This 1951 flick was a big winner, copping the bestpicture Oscar against such tough competition as “A Streetcar Named Desire” and “The African Queen.”

It also vaulted Gene Kelly to the summit of MGM’s talent ladder, establishing him as Hollywood’s premier dancer-choreographer as well as a pretty fair actor and singer.

Well, some 66 years later, “An American in Paris” is on the boards, its current stage being the one at Costa Mesa’s Segerstrom Center for the Arts where the artistry of Kelly has been replaced by that of Mikhail Baryshnikov.

Ballet rules this adaptation, directed and choreographed with a floating flourish by Christopher Wheeldon from a revision written by playwright Craig Lucas.

The spine of the original story remains: An Army lieutenant is discharged in Paris after World War II ends and decides to stay there and pursue a career as an artist, whereupon he flips for a young French girl who’s already spoken for.

Ryan Steele portrays the ex-GI, Jerry, with the clever enthusiasm, if not the brash confidence, of his predecessor as he pursues the gamin cutie Lise, beautifully danced by Sara Esty, while sidestepping the gorgeous art patron Milo (Emily Ferranti), who’d like to add Jerry to her collection.

Steele shines on such unfamiliar numbers as “I’ve Got Beginner’s Luck” and “Fidgety Feet,” a solo bit that turns into an ensemble exercise. The wafer-thin Esty charms more as a dancer than an actress, but Ferranti is the surprise standout of the show with a solid interpretation and a terrific voice heard all too seldom.

Narrating the whole escapade is the sour composer Alan (Etai Benson), so ingrained in the Oscar Levant role he even mentions Levant’s name on one occasion — sort of like the lyric, “Billy Wilder will know my name” in the musical “Sunset Boulevard.” Benson’s task is to keep the fantasy grounded, which he accomplishes splendidly.

Nick Spangler adds layers of depth to his characterization as Lise’s fiance Henri, though the subplot involving him and his parents (two characters created for the stage version) becomes a trifle murky. Moreover, his initially inept performance on “I’ll Build a Stairway to Heaven” seems a bit of a puzzlement.

The captivating music of George Gershwin,with lyrics by his brother, Ira, pervade the stage production as they did the movie, and are truly satisfying – with one glaring exception.

Lucas has yanked the show’s best number, “Our Love is Here to Stay,” and added other tunes from the Gershwin collection (“The Man I Love,” “But Not for Me” and “Who Cares?”). There’s even a song called “Shall We Dance,” but it’s not the one from Rodgers and Hammerstein’s “The King and I.”

As for the climactic ensemble number, the “American in Paris” ballet, the show’s ensemble delivers a sparkling, energetic concept, though it won’t make anyone forget what Kelly accomplished back in 1951. Dancers suggest scenery changes with alterations of costumes, bolstered by lighting wizardry.

More than any show in recent memory, “An American in Paris” soars on its superb technical contributions. Jon Weston’s ever-changing colorful backdrops and Natasha Katz’s dizzying lighting effects compensate beautifully for the absence of cinematic splendor.

“An American in Paris” took an exceptionally long time to move from screen to stage, but in many respects it’s been worth it, judging by this elegantly elaborate production at the Segerstrom Center for the Arts.