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On the whole I thoroughly enjoyed last nights preview. I would be thinking about shortening the first act, we start the show with a big number, I Got Rhythm.  so the audience are up for it from the get go. Its followed by, what feels like, lots of little set changes to get the story going which involves the cast moving chairs etc whilst dancing and the sets moving in and out so you go from a bar, to a street, to the river, back to the bar and so on. So by the interval you are left a bit breathless  but not really very involved. The second act is an absolute belter, the story slows down and the ballet finale is superb. The sets and costumes ( Bob Crowley ) and lighting (Natasha Katz) are very good and Mr. Wheeldon does a good job as Director and Choreographer. The Ensemble work well together and the singing/dancing is of a high order. I had to keep reminding myself that this is musical dance not ballet because I really noticed the difference. The leads are excellent, special mention to Zoe Rainey as the rich benefactor sings beautifully as do David Seadon-Young ( Composer) and Haydn Oakley ( son of theatre owners). There is no doubt though that this is a vehicle for Leanne and Robert as Lise and Jerry. Leanne maintains her French accent very well and dances beautifully but Mr. Fairchild is the absolute star of the show, He is stunning and worth the ticket money on his own. He is a great actor, can sing and dance without any effort at all and what a dancer he is. I would love to see him at the ROH. Its a huge theatre and will need some filling but a great night at the theatre.

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Great review. I sat in front row last night and was mega impressed with Robert Fairchild and Leanne cope . Enjoyed seeing lots of ex rbs/brb/enb dancers in the ballet bits max westwell from enb and Jonny cage from brb stood out also Nicky henshell. Agree act 1 overlong for what you get. Go and see it

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I will, on the 18th!  Really looking forward to it.  A friend told me she thinks they have cut bits since she saw it a few months ago, so what must Act 1 have been like before??!!  

 

Thanks for posting your thoughts, SPD and Jules.

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Anyone who booked front Stalls tickets when booking very first opened, be warned that Row C is no longer the front row. They've since added, and sold, two rows of unraked seating in front of it! I arrived last night to find my view blocked by a tall person in front, and although I was reseated upon request, it was of course to the "best they could do" which was nothing like what I reasonably expected when I booked. I will of course be making a formal complaint as it totally ruined my evening.

 

That aside, it looks good, and I like the use of the songs and the generally subtle singing style (as opposed to what puts me off a lot of WE productions). I was bored in Part 1 and found it too long for the amount of plot, even though it was quite short. My favourite part was the actual stage ballet sequence towards the end.

 

Must say, though, Robert Fairchild's character got right on my wick. No offence whatsoever intended towards him as a performer - he was great. But if somebody was chatting ME up, and wouldn't take no for an answer, and persisted in calling me something that was not my name despite being repeatedly corrected, he wouldn't get the girl. He'd get a detailed piece of my mind at best, and a knee in the sensitive area at worst.  I spent the rest of the show wanting Lise to show him the door.

 

Not for me, I'm afraid.

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Thanks for the warning Ruth.  When I booked it looked as though row E was the front row!!!  Not amused!

 

Do you think row A would be good?

 

I'm in row A tonight (though right at the side) so will let you know

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Thanks for the warning Ruth.  When I booked it looked as though row E was the front row!!!  Not amused!

 

Do you think row A would be good?

 

You'd have the usual caveats for a front row - for example, you'd miss some footwork - but I don't believe you'd need to crane your neck too much.

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being in the front, missed a lot below the knee; and right on the side, had lots of backs of heads - but despite all that, really enjoyed it! Leanne Cope was S'wonderful (sorry, couldn't resist), the ensemble big musical numbers were danced and sang with gusto (so many ex-ballet dancers singing - marvelous!), the jokes were good and well delivered, and nicely acted all round. A top night's entertainment - the highlight for me being the 'American in Paris' ballet which was cleverly done, and the romantic pdd in the finale

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yes, had no trouble with faces down there (when pointing my way) which was great. Had I been 4-6 rows back, with the rake, it would probably have been near perfect!

Whatever, its a really enjoyable show, and wouldn't hesitate to recommend seeing it

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I was in row J and had a perfect view. If only the rake at the ROH was as good as that. Mind you, it was in the "premium" section so the tickets cost £115 each and that was at a preview.

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I was in row J and had a perfect view. If only the rake at the ROH was as good as that. Mind you, it was in the "premium" section so the tickets cost £115 each and that was at a preview.

 

Yes, mine was £19, and I got what I paid for really, so not complaining. Hope you enjoyed the show as much as I did!

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Ahead of the official opening night on the 21st March, we had a photo call at the Dominion Theatre, featuring a few of the scenes from the show, and the lovely finale pdd with Leanne Cope and Robert Fairchild.
 
Here are a few photos:
 
33318560301_0219ee6398_z.jpg
I'll Build a Stairway to Paradise - Swing cast, led by Haydn Oakley
© Dave Morgan. Courtesy of DanceTabs / Flickr
 
33406256866_0b5ab5f582_z.jpg
They Can't Take That Away From Me - Leanne Cope, Robert Fairchild
© Dave Morgan. Courtesy of DanceTabs / Flickr

See more...

Set from DanceTabs: An American in Paris (some scenes from)
Courtesy of DanceTabs / Flickr

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Loved the film, loved the show, and Robert Fairchild is an out and out star of the very first order, couldn't take my eyes off him! And sorry Ruth E but if his character, Jerry, *had* taken no for an answer we wouldn't have a show.

 

A very engaging performance by Leanne Cope, who embodied Lise's ingenue qualities - part Lesley Caron, part Audrey Hepburn - and she really seemed to be enjoy herself, which was lovely to see.

 

Haydn Oakley as Henri and David Seadon-Young as Adam both tugged at the heartstrings, as did Zoe Rainey's Milo Davenport, who was so gorgeous she almost made me wonder how Jerry could leave her for Lise.

 

After the earlier reviews, I was expecting act 1 to drag far more than it did. Perhaps because my expectations were lowered, I wasn't bored at all. Yes, it was bitty in parts but it all hung together, moved the story seamlessly forward and the mobile sets were very effectively used. Oh,  and I absolutely want Milo Davenport's wardrobe!

 

So, great leads, a convincing and enjoyable ensemble cast and, as SPD444 said earlier, singing, acting and dancing of a high order, what's not to love?

Edited by Scheherezade
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Will be going to see this in the Easter hols, and I am really looking forward to it.  As usual for ballet/dance I booked in the circle and have what I hope will be a good seat.  However, I did notice a lot of the seats in the circle were tagged with "restricted view", why is this?  I haven't been to the Dominion for years, so don't remember the layout well.

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It's mainly down to the safety rails, which may be quite bulky (the one in front of Row H certainly is). I'd guess the aisle seats have a worse restriction than the ones to their inside.

 

 

Anyway, an opportunity to win tickets for the opening night: http://www.officiallondontheatre.co.uk/competitions/item387722?utm_source=SilverpopMailing&utm_medium=email&utm_campaign=nl_16_03_16%20OLT%20Newsletter%20(1)%20remainder&spMailingID=28270603&spUserID=Mjc2MjQ5ODkwMAS2&spJobID=1002355204&spReportId=MTAwMjM1NTIwNAS2

Closing date tomorrow sometime.

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I am just back from today's matinee and really enjoyed it.  Aside from the fact that no-one seems capable of writing or re-writing anything these days without swearing (it wasn't bad at all in this production but Gene Kelly never needed to swear to get any point or emphasis across), the script was witty and at times poignant, and well-delivered by all.  

 

Internal sunshine, vibrant colours, great set design and production, lovely dancing and singing and best of all, Gershwin's music.  Who could ask for anything more?!

 

I do hope to be able to go and see it again....if you haven't already, I highly recommend it, especially on a chilly, grey day such as today.  I felt a lot warmer when I left the theatre!  

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Saw the London company of AAIP last night.  I was really looking forward to it - having become a fan in Paris - but have to say that I came away a tad disappointed.  (Not sure I would have been had I not seen it before.)  

 

That Fairchild dazzled there is no question - and it was wonderful to see him staying in shape for his NYCB return in June.  Cope was again sweetly apt.  Much of the remainder of the cast - minus the Milo (the lovely Zoe Rainey) who was as zealously provocative as her Broadway/Paris counterpart - seemed to dim in light of the originals.  It goes without saying that the sets, costumes and - most spectacularly - the music remained as mouth-droppingly dazzling as before - although I do confess to missing the scope of that much larger Parisian orchestra ... and - to tell the truth - some of the development etched in those additional 20 minutes in Paris.  Sometimes the sound here - both of the voices - especially when speaking - and the music sounded tinny.  

 

The Adam I thought acted too much - whereas the original just 'was' with a freshness to his bite ... and the original Henri had much more charm and certainly proffered a much more generous gift in terms of fullness of vocal production.  It was so much easier to believe in the bond of the 'Three Muskateers' in Paris.  I cringed I must say at the Baurels.  They had such charm and depth in the original production.  It would truly have been insulting to many of those amongst the elderly attending were it to have been otherwise.  The careful emotional restraint of Vivienne Cox certainly trounced Jane Asher who I thought was as borderline embarrassing as her accent.  (Where did it start? ... WHERE did it end?) These characters play such a catalytic role in the piece and - with the cuts - they have to forge much of the flesh themselves to put on the skeletons.  In this sense the show was much more of a machine here that it had been earlier.  There is no question, of course, that it was a slick one.  

 

I also missed the Parisian audiences at the Chatalet.  They truly made it exciting ... and exotic.  Well, for me.  [i even missed the super titles!]  Of course, 'Beginner's Luck' was never going to have the same charm in London - with all the references to the Galerie Lafayettes going for naught.  It may sound strange but I think this is my favourite number in the show - and Robbie Fairchild is pixie-like in the delight of his turns.  Funny - the energy of the French audiences always struck me as being particularly un-Parisan - but they predominately were; Parisian that is.  I so vividly recall Robbie Fairchild jumping up and down at the fifth or sixth curtain call like a little child and tears streaming down his face in joy.  He was doing the same at the 10th or 11th at that final performance - but then it all had a sense of 'newness' then.  

 

Still it was the ballet that was the highlight - as built - and so it remains.  It was lovely to pick out dancers one has much liked elsewhere - like Max Westwall (ENB/BRB) and BRB's Jonny Cag (whose smile alone could light up any stage - another highlight) ....

 

Still it was Fairchild and Cope who were left to bring it home - the ballet that is - and bring it they did.  Convivially so.  

 

Won't write about this show again - although I'm sure I'll take another peek before Fairchild leaves.  You will, of course, have had vast swathes from me in the long strand that dealt with the original Paris/NYC adventures.

Edited by Bruce Wall
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Oooooo four and five stars across the board this morning from all the London critics.  I am sooo thrilled because this is a truly lovely production and really deserves it!!  Many congratulations to all involved, and long may it run!!  :)

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That's quick: I thought the first night was last night?  Wasn't expecting that quick a turnaround.

 

Did I mention that according to adverts I've seen the reduced "preview" prices apply until the end of this month?

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My daughter saw this last night and was absolutely enchanted. She adored the whole show and could see everything perfectly from the rear of the stalls. Fairchild and Cope were "amazing" and she loved seeing Max Westwell too, who is a long time favourite of hers. Lots of celebs too, apparently, as it was the official first night. She loved every minute. Bit jealous now that I didn't go, but her ticket was a birthday present from one of her friends. :)

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From the website:

 

Robert Fairchild is scheduled to perform at all performances until Saturday 25 March 2017 (with the exception of the matinee on Saturday 25 March). From Monday 27 March 2017, he is scheduled to perform at all Tuesday to Saturday evening performances and Saturday matinees until 17 June 2017. At all other performances, and from 19 June 2017 onwards, the role of Jerry Mulligan is scheduled to be played by Ashley Day.

 

Leanne Cope is scheduled to perform at all performances until Saturday 22 April 2017. From week commencing 24 April 2017 onwards, she is scheduled to appear at all performances except Wednesday evenings, when the role of Lise Dassin is scheduled to be played by Daniela Norman.

 

Principal casting is subject to change at all performances. The producers cannot guarantee the appearance of any particular artist, which is always subject to illness, injury and statutory leave entitlement.

 

Cast Holidays:

 

Robert Fairchild will be on holiday from Monday 17 to Wednesday 19 April 2017 inclusive and from Monday 8 to Wednesday 10 May 2017 inclusive.

 

Leanne Cope will be on holiday for 2 weeks from 31 July 2017.

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