Christopher Wheeldon - An American in Paris - Paris & Broadway

[zxDaveM]

I hope that after a successful run on Broadway, the same cast will open somewhere in London! :-)

[Buddy]

“Shouts of approval and a standing ovation, rather rare in France, ended the triumphal launch of a major new work.” 

 

https://figarosi.wor...paris-in-paris/

 

This is from “Figaro Si! A daily magazine of classical music.” If the review doesn’t appear, you may have to Google it yourself. The review also mentioned that some critics were invited to what seems to be the official opening December 10, which might account for no press reviews so far.

 

Being there the same evening, I agree very much with the review's accuracy and enthusiasm. It does make reference, though, to problems with the sound system during the first act that I didn't notice. I did like the orchestra and felt that the mention of some slight hesitation in Leanne Cope's voice, which once again I didn't really notice, was so compensated for by her all endearing and very fine theatrical presence. Also, congratulations to her for making the cover of Dance Magazine.

Edited December 4, 2014 by Buddy

[Buddy]

Something that I would have wanted to mention in my post above is that I thought Leanne Cope’s singing was lovely. Her dancing, of course, was excellent. 

 

She mentions in Dance Magazine that she would love someone to tell her that it wasn’t her dancing that they liked most. Okay, I can do that. “ I thought your delightful presence may be what captivated me the most. And ! — Your dancing and singing are great and your acting is absolutely charming ! “

 

In regard to the opening remark in my above post, quoting the reviewer,

 

“Shouts of approval and a standing ovation, rather rare in France, ended the triumphal launch of a major new work.” 

 

I think that in fairness to audiences in France, theatrical audiences everywhere that I’ve been, including ballet audiences, can be somewhat reserved. This doesn’t doesn’t mean that they aren’t just as appreciative. The unobtrusive printed translation into french, above the stage as at an opera, made a lot of the overall enthusiastic response by the Paris audience possible, as there was much enjoyment heard for the comic dialogue as well as for the other things.

 

Edited December 5, 2014 by Buddy

[Buddy]

Nice review in The Huffington Post.

 

“American in Paris: ‘ S Wonderful”

 

http://www.huffingtonpost.ca/adam-moscoe/american-in-paris-s-wonde_b_6265856.html

 

[Buddy]

Dansomanie, the very fine and informative ballet site, principally in french, has remained fairly silent, but today this was posted. The post also confirms that the show is essentially sold out.

 

"Cet "Américain à Paris" est vraiment un spectacle enthousiasmant, ce serait trop long d'énumérer tout ce que j'ai adoré...."

 

[This American in Paris is truly an exciting show, that would take too long for me to enumerate all that I loved about it....]

 

(posted by NEOPHYTE)

http://www.forum-dansomanie.net/forum/viewtopic.php?t=5215&start=150

Edited December 7, 2014 by Buddy

[Bruce Wall]

As promised ....

 

I had a double dose of 'American in Paris' this weekend being as I was, myself, in the City of Light.  This was sandwiched between the enchanting Paris Opera Ballet School demonstrations and a performance of La Source.  

 

I am very glad that I saw it twice - as it helped to clarify my own personal take which was largely positive.  The Sunday matinee was I think the better performance and I joined the largely French audience in their cheers and exultant stomping.  On the Saturday evening Craig Lucas' book had somehow seemed much more lumpen than it did during the matinee but that may well have been my own exhaustion having just got off the Eurostar.  The concept of a triangle of men in love with the same young French woman is certainly not the strongest nor is it the most novel.  This is very much Wheeldon's show.  It is almost entirely his extension to Balanchine's 'Who Cares'; here surrounded within Bob Crowley's dazzlingly spare sets/projections.  That said - and what makes this production so thrilling and immediate - is that it is framed - almost entirely - through the eyes, ears and most especially the exhalation of the feel of one, Robbie Fairchild.  

 

Fairchild does not disappoint.  Never.  Not once.  Not at all.  This lad is a STAR - with a capital 's' and everything else you might care to toss into his mix.  What self respecting woman of ANY age would not fall in love with his endearingly crooked smile and his immaculate sense of grace be it lodged in (i) his balletic jazz movement; (ii) his astute comic timing; (iii) his involving dramatic appeal - (even when the book might not be as creatively supportive as it might otherwise have been) and (iv) through the effortless ease of his welcome singing voice; a supported 'Matthew-Broderick-like' instrument which easily wafts over the French footlights.  With each aspect Fairchild caresses.  He is, I think, as close as we are going to come to an Astaire facsimile in the early 21st Century.  Oh, forget that:  He IS Robbie Fairchild.  That'll be enough in ANYBODY's book.  Both Gershiwn and Porter I suspect would glow at the way he delivers each of their songs - and resultant dances courtesy of Mr. Wheeldon - with a full and easy measure.  Fairchild 'Freds' them, much as Porter once quipped.  

 

Leanne Cope as the girl in question was certainly demure and looks fetching in her new culled bob which sets off her gamine headlight-bulb-like eyeballs in whichever direction she may choose to shine them.  (How refreshing it is to see her in a dramatic role where she is not being murdered, raped or sold into prostitution.)  Her character - an orphaned French dancer who's long made a living as a sales assistant - is largely - as it happens - defined by others.  To wit: it is through others' reflections that her character comes alive.  She is a matter of others' reflection.  [in this regard Brandon Uranowitz has a sweet vibrato as a frustrated Gershwin stand-in embittered by his own war time travails; Max Von Esson as Henri Baurel - the husband-would-be who ultimately loses - is possessed of the evening's strongest male voice; Jil Paice is the proverbial rich bitch (a nasty American of course) with a svelte line in caustic vigor and the theatrical veteran that is Veanne Cox exalts in the most challenging dramatic assignment of the evening [that of a French matriarch with a war-time conscious] negotiating any and all mine fields left open to her with apt aplomb.)  

 

For fairly obvious reasons given her employment with her native Royal Ballet, Cope as Lise Dassin is most impressive in the balletic segments; especially the fine final telling Wheeldon piece seemingly created for her character within the so-called 'Ballet Chatelet'.  It is a jubilant circus of an affair during which her romantic zeal for our hero - [which is - it must be said - never really in doubt this being a musical comedy] - takes more than imagined centre stage.  As Jerry Mulligan, Robbie (forgive my familiary but he just seems such a nice guy as to invite one and all to call him by his christian name) would make ANY woman look divine in ANY position.  Still, in that final - and apt - Wheeldon pas - replete with its very difficult partnering - [which - much as everywhere else in AN AMERICAN IN PARIS - Fairchild makes look simple} - Cope glows on behalf of us all in his caring hands.  In her character's regard Fairchild practically peculates - even whilst being oh, so memorably shoved into the Seine. The tension of their romantic partnership buoys as it should but oh, so easily might not have done in other hands.    

 

Cope's singing voice it is true is not the strongest - but it is certainly amiable enough for the one and half songs she is asked to sing.  Moreover, she does sincerely try to act the songs and even goes so far as to maintain her French accent in every lyric.  It's only that the one full solo assigned to her is SO famous:  'The Man I Love' - (and, yes, it's hard for any NYCB lover - [and I know that's a foreign climb here] - NOT to think of Balanchine's choreography in that and - even more - in 'Embraceable You' and 'Fidgety Feet'... and, of course, with Mr Fairchild - the natural successor to Robbie La Fosse in that role - at its pulsating heart). Ms. Cope was slightly under pitch in her solo head voice on Saturday night but was happily back on measure - albeit with some 'snap, crackle pop' sound difficulty emanating from her sound equipment - for the Sunday matinee.    

 

At the curtain calls Cope curtsies with the unassuming propriety given to a Royal Ballet artist next to Mr. Fairchild's 'aw, shucks - I'm really here - and you like me' come hither Salt-Lake-City-born grin bow.  The latter is as convincing as any winning lottery number.  Both audiences I sat aside roared and stamped their appeal.  What they will do when they need to come to replace Fairchild - (and I suspect it will come to that in NY - NYCB should not be left waiting too long) - heaven only knows.  Someone needs to create an original show for this lad's extra-ordinary talents ... and soon.  

 

'Who Cares?'  The world will ... and rightfully so.  .  

 

Bless you, Robbie;  Bless you Mr. Wheeldon.  You done us - indeed ALL - proud.  

Edited December 8, 2014 by Bruce Wall

[Bruce Wall]

Yet another puff piece here.  

[Bruce Wall]

Dansomanie, the very fine and informative ballet site, principally in french, has remained fairly silent, but today this was posted. The post also confirms that the show is essentially sold out.

 

 

 

I'm sorry but that is far from being correct ... and no one should be scared off travelling to buy a ticket.  The gentleman sitting in front of me last Saturday night - an American in Paris - as it happens - from Utah - had purchased his ticket but ten minutes in advance of the house opening that evening.  I paid 31 Euros for the seat behind (not including the on-line fee) and he paid 8 Euros without any additional charge.  He, as it happens, had more leg room and did not have to print out his ticket.  I bought an 8 Euro ticket the next day - on the day - for the matinee - and felt the seat was, in fact, better than the one I had booked on the internet.  There were still a goodly number of seats on either side that remained free at the time of the curtain - I'd say well in advance of 50.  

 

That it was 'fullish' I would agree.  That they were jubilant in their response is unquestioned.  That 'AN AMERICAN IN PARIS' is 'sold out' is, I fear, simply inaccurate.  

[Bruce Wall]

I hope that after a successful run on Broadway, the same cast will open somewhere in London! :-)

 

It would be nice to think that might be the case - (assuming that the Broadway run IS a success - and those things are NEVER EVER guaranteed.  So many risks come into that particular - and complicated - mix at any one time).  

 

I wonder if it would be entirely prudent for Mr. Fairchild to take yet more time from NYCB.  He originates so many roles each season there - (this season he has had three ballets - four dance works if you count those in An American in Paris - and that alone has a goodly number included - created on him) - and that doesn't even count in the material fashioned for both him and his new wife in Vail.  Of course, that's the way ultimately dance history is written and heaven knows those careers are brief.  

 

I wonder if Tyler Angle sings? ... He certainly dances and acts superbly ... and is an understandable favourite of Mr. Wheeldon.  If that were to be apropos - and that's a considerable IF - it might be nice to see the commercial wealth shared in terms of the nominated 'American'  in London's particular 'Paris'.  It would certainly be understandable for Ms. Cope to re-appear as she would be on home turf and better able to take a limited break from her RB responsibilities which are - in and of themselves - different from those of Mr. Fairchild who is, of course, a NYCB principal.  

 

I, myself, think Joseph Walsh would be brilliant (again if he is comfortable singing) - and he's just - in the past few days - been made a principal at SFB.  (I know he's not be seen in London yet ... but he is a another favourite of Mr. Wheeldon.)  

 

In any event - were An American in Paris to show up in Blighty ... you can rest assured that there will be good things coming, Dave.

 

You can see Mr. Walsh briefly in Ashton's Les Patineurs here:

 

 

and in a touch of Balanchine here:

 

 

and here

 

 

You can hear him talk and dance some more - when he was a principal with Houston Ballet (Mr. Acosta's former stomping ground) here:

 

Edited December 10, 2014 by Bruce Wall

[Buddy]

Thanks, Bruce, for you enthusiastic review, added information and ongoing thoughts.

 

 

Looks like official opening night was a great success. Scroll down to see audience’s response.

 

https://twitter.com/cope_leanne

 

Leanne Cope

 

“I will remember this night forever. Thank you.”

Edited December 11, 2014 by Buddy

[Buddy]

This was posted by heylookity at Dansomanie, who apparently is familiar with the production. This is my translation from the french.

 

“The world premiere took place last night, the show was presented in its final version. The show has evolved during previews and changes occurred at all levels (costumes, text, lighting, choreography ............). One of the most obvious changes was the removal of the opening of the first act and the first scene of text together with the number "Our Love is Here to Stay" [Act II, a cast number].”

 

[La première mondiale a eu lieu hier soir, le spectacle a été présenté dans sa version définitive. Le spectacle a beaucoup évolué lors des avant-premières et des modifications sont survenues à tous les niveaux (costumes, texte, éclairages, chorégraphies............). Une des modifications les plus flagrantes a été la suppression de l'ouverture du 1er acte et de la première scène de texte, ainsi que de l'extrait chanté "Our love is here to stay”.]

 

http://www.forum-dansomanie.net/forum/viewtopic.php?t=5215&start=165

 

Both myself and the man sitting next to me at the opening preview thought that shortening the first act might be helpful.

[Bruce Wall]

Buddy, when I saw the show it opened with Brandon Uranowitz - as the composer character - hobbling on stage - from the stage right house side - speaking a few lines - briefly toying with the piano - and then saying 'And that's how it starts' ... or some such.  Then you heard/saw the collision of Nazi chaos being rapidly replaced by the victorious parade of a massive Tricolore under which was discovered the ubiquitous 'American in Paris' - the miraculous Mr. Robert Fairchild.  When Fairchild turned face front towards the audience the Arc de Triumph explosively rose beyond him in victory.  This then went into a prolonged dance/movement sequence during which the depravity of post-war Paris was highlighted by a violent fight on a bread line.  A woman is tossed to the ground at one point and Lise (the radiant Ms. Cope) dashes over to give her half of her baguette such as she takes out of her period handbag.  She is the only character in this sequence to be dressed in any meaningful colour.  She is attired in pastels if I recall..  This was, of course, all - naturally enough - being sketched by Mr. Fairchild's 'artist' character.  It is thus he gets initially caught up with his subject's allure and that, of course, leads to him to ultimately tearing up his train ticket  which I assumed was to take him to his transport back to the States - and most certainly points both leads towards the meat of this musical's romantic tale.  From that point forward Fairchild will be seen in civilian dress only.  I'd say the opening was pretty snappy ... certainly engaging ... and - from a dance/movement perspective alone ... impressive.

 

This opening was the same for both the most recent Saturday evening and Sunday matinee performances.

 

I assume that is different from the scenario you witnessed at the first preview, Buddy.  Quite understandable with Paris being the 'out of town' sojourn; one ultimately heading toward the Broadway opening at the Palace in March.

Edited December 11, 2014 by Bruce Wall

[Buddy]

Bruce, what a memory you have ! What I saw is essentially what you described. I'm not sure what "première scène de texte" which I translated as "first scene of text" (apparently deleted) means. I rather liked Brandon Uranowitz's (composer character) opening monologue. I might have limited some of the latter dialogue and cast performance along with some of the initial postwar heaviness, but I don't recall much of this specifically and it's just my opinion. I do like that Leanne Cope is portrayed so sympathetically from the very beginning. In any case, I think that tailoring back some of Act I was a good idea. I also like the idea that Christopher Wheeldon's brilliant ability with ballet style choreography be as effectively and prominently displayed as can be. I wouldn't imagine that all this is yet cast in stone, as there'll be two months after Paris until the opening in NYC.

 

All this said, so much of this production is so wonderfully done that I wish it all the success possible. 

Edited December 11, 2014 by Buddy

[Buddy]

Sarah Crompton — The Telegraph

 

“ An American in Paris, Théâtre de Châtelet, Paris: ‘Bold, satisfying and witty’ “

 

http://www.telegraph.co.uk/culture/theatre/theatre-reviews/11281952/An-American-in-Paris-Theatre-du-Chatelet-Paris.html

 

My footnote:

 

It should be noted that Sam Davis is given credit for five of the “Dance Arrangements” in the printed program, including the signature I’ll Build A Stairway To Paradise. Christopher Wheeldon mentions in an article that he wanted a ’specialist’ for the tap and more Broadway style numbers.

 

There are four numbers in the program that are noted as ballets, including the reinvention of the famous 17 minute American in Paris. As I recall all the ballet pieces were substantial presentations. Also I felt a sense of staging (pacing, movement, expression, etc.) throughout, that had a Chris Wheeldon feeling, that I enjoyed very much.

 

This is the program for the preview opening night.

 

Act I

 

Love Is Here to Stay (entire company)

Concerto in F for piano and orchestra (ballet)

I Got Rhythm* (Henri, Adam, Jerry and Ensemble)

Second Prelude for piano 

Beginner’s Luck* (Jerry and Ensemble)

The Man I Love (Lise)

Liza* (Jerry and Lise)

’S Wonderful (Adam, Henri, Jerry and Ensemble)

Soon (Milo)

Second Rhapsody for piano and orchestra (ballet)

 

Act II

 

Fidgety Feet* (Jerry, Adam and Ensemble)

Who Cares (Milo, Adam, and Henri)

For You, For Me, For Evermore (Lise, Henri, Jerry and Milo)

But Not For Me (Adam and Milo)

I’ll Build A Stairway To Paradise* (Henri, Adam, and Ensemble)

An American in Paris (ballet)

Love is Here to Stay (entire company)

They Can’t Take That Away From Me (Adam)

Epilogue Ballet

 

* Dance Arrangements by Sam Davis

 

 

Edited December 12, 2014 by Buddy

[Buddy]

"UN AMÉRICAIN À PARIS" ENCHANTE LE CHÂTELET

 

http://www.grazia.fr...chatelet-719580

(thanks to Dansomanie for this source)

 

This title to the review sums up *Everything* that I've read on the internet from France. 

Edited December 13, 2014 by Buddy

[Buddy]

Francis Carlin, The Financial Times

 

“…. I would beg, borrow or steal to see it all again.”

 

http://www.ft.com/intl/cms/s/0/92c0cf4c-8444-11e4-bae9-00144feabdc0.html?siteedition=intl

 

Thanks for this one, Ian.

[Ian Macmillan]

Buddy, You're most welcome.  We normally don't cover Musicals but, over the years since ballet.co, exceptions have been made for West Side Story and Billy Elliott, and I think we can safely do likewise for Chris Wheeldon's production.  Based on all of what we've heard thus far, I do hope it makes it to London before too long, but I guess it may have a long Broadway run before that.  And, if I recall correctly, Leanne Cope is on a limited Leave of Absence from the Royal Ballet - something that could yet raise questions for her (and others in the cast?) about where her future lies. 

[Bruce Wall]

Buddy, You're most welcome.  We normally don't cover Musicals but, over the years since ballet.co, exceptions have been made for West Side Story and Billy Elliott, and I think we can safely do likewise for Chris Wheeldon's production.  Based on all of what we've heard thus far, 

 

There is a very good/legitimate reason for this inclusion on 'Balletcouk', Ian,and that is fact that this particular take on AN AMERICAN IN PARIS began its life - in this particular Wheeldon adventure - as a one act ballet for NYCB.  I'm in fact surprised that this originating aspect is not more oft mentioned (much as Fancy Free (ballet) would become On the Town (musical comedy) for the Robbins/Bernstein combo).  Indeed, in this light Mr. Wheeldon is simply following in the footsteps of his own true NYCB mentor, Jerome Robbins himself ... much as Robbins had followed his own balletic mentor, Balanchine, on a similarly diverse creative trajectory  Wheeldon notes himself that his own work on the developmental AN AMERICAN IN PARIS 2013 workshop in Manhattan (again featuring both Fairchild and Cope) in fact led to a new narrative maturity which was clearly/subsequently evidenced in the creation of A WINTER'S TALE, which I'm convinced will be a major narrative balletic work to last through time; perhaps the first significant one of the 21st Century.   The major beneficiary of that latter route of achievement is surely the Royal Ballet.  

Edited December 16, 2014 by Bruce Wall

[Ian Macmillan]

Bruce:  Thanks for that background, and I'm very much with you on Winter's Tale.  Meanwhile, for those whose French is reasonable, it seems that Paris Match has gone overboard about Wheeldon's production:

 

http://www.parismatch.com/Culture/Spectacles/Broadway-debarque-au-Chatelet-671770

 

"Une réussite totale."  "Peut-on vivre une soirée plus parfaite que celle ci ? Difficilement."

[stucha]

... without actually mentioning Wheeldon!! 

[Bluebird]

I'd hesitated to post this link since it's from a French newspaper but, given that we already have a number of French language reviews, here's another:

 

http://www.lefigaro.fr/musique/2014/12/12/03006-20141212ARTFIG00288--un-americain-a-paris-s-installe-au-theatre-du-chatelet.php

Edited December 17, 2014 by Bluebird

[Bruce Wall]

Thank you, Bluebird.  A link at the bottom of this understandably stellar review in Le Figaro shows an article in that same publication - an brief interview with Christopher Wheeldon - in which he talks about (i) the relationship between the current AN AMERICAN IN PARIS and his first one act ballet for NYCB, (ii) the pressures of actually choreographically writing a work for Broadway and (iii) the importance of Jerome Robbins and Gershwin to his own career.  It can be found here.  It, too, is in French ... but I don't think that should stop us.  Il ne devrait pas , devrait-il?, 

Edited December 17, 2014 by Bruce Wall

[Bruce Wall]

I was in Paris for work during the past week and was privileged to see the final two showings of Christopher Wheeldon’s re-envisioning of AN AMERICAN IN PARIS at the Chatelet.  (I had only intended to see it once ... but the opportunity to go a second time - with a seat on the 'First Balcon' for a mere eleven Euros - was simply TOO tempting.  You certainly won't get near ANY door on Broadway for that price ... and the seat which was supposed to be very badly obscured turned out to be the equivalent of a side seat on the Coliseum's Dress Circle.  I certainly have learned the advantages of buying tickets at the box office in Paris rather than over the internet.  The side seats on both sides of the Palais Garnier when I went to see La Source were very sparsely populated and yet the internet said it was ''sold out'.  I have learned it is right to be brave ... as long, of course, as you can somehow muddle through with school-boy French.  I actually surprised myself this past week both in work and at play at just how much I can remember when I need - or especially want - to.  STILL ... back to AN AMERICAN IN PARIS.) 

 

This was a substantially different show from the one I saw/reviewed last year (i.e., but a month ago).

 

How so you will ask?

 

I will do my best to answer.

 

The production’s (i) opening – whilst maintaining the core content and stunning visuals by Bob Crowley [which continue to dazzle throughout]  – has been rightfully tightened as has the thrilling narrative build (ii) of the conclusion of the first act.  Both remain in and of themselves unconventional but each now is rendered with potency afresh.  Assuredly the latter now has the startling climatic build it richly deserves.   

 

The most substantial (and wise) alteration is the (iii) overall trimming of the musical’s book by Craig Lucas.  This proves prudent in the extreme giving a rightful focus to both (a) Gershwin’s life enriching music and (b ) Wheeldon’s enhancing choreography.   The characters themselves now evolve through the soul of their heavenly refrains and the (iv) spoken/sung sextets, quartets and trios are now witnessed as elegant acts of supporting glory.  The letter writing sequence shared amongst four of the key protagonists is now a work of art unto itself itself and very much honours ‘The Man I Love’ which it movingly introduces. 

 

(v) The orchestrations such as have been wrought by the inspired team of Rob Fisher and Christopher Austin are now a virtual masterclass in inspirational musical application.  They don’t merely engage; they enhance.  They glisten like the moving bonnet of a Cadillac classic.  The Gershwins’ music itself becomes a vital and complex character.  It runs; it talks; it prances vibrantly. 

 

In a similar light each of (vi) Wheeldon’s three emotive pas de deux for Lise and Jerry are now thrillingly balanced/augmented by the text’s new found economy.  Each now clearly builds through the narrative potency of its dance.  It’s as if each has been threaded withthe refined agility of an ‘Ashtonian pink’ and Fairchild’s second solo variation is worthy of that masterpiece which Balanchine latterly bestowed upon SQUARE DANCE.    

 

So too has the (vii) theatrically coruscating seventeen minute ballet lying near the end of the second act – a ravishing circus of core choreographic enrichment - been adorned; augmented in its stealth.  That particular work now MORE than fully deserves (a) not only its right of place but ( the celebratory proclamations denoted in the Production’s text and as staged immediately afterwards.  Indeed at the two performances I attended this past weekend (3^rd/4^th January 2015) many in each of the Chatalet’s capacity audiences continued to applaud alongside the show’s ‘canned adoration’ having already proffered a sustained salvo in recognition of the pulsating joy that is the real thing.   I predict that this work – Wheeldon’s dazzlingly dramatic treatise on the heroism necessary to sustain any artistic tryst through time  - will not ONLY be balletically preserved in revivals of this particular book musical (and you just know they will come) but upheld/celebrated in the reps of such major historic ensembles as NYCB and POB; both rightly renown for their unique and continuing balletic originations.  May this be for Britain’s Christopher Wheeldon what ‘Fancy Free’ was for his key mentor, Jerome Robbins;  What ‘Slaughter on Tenth Avenue’ became out of On Your Toes for the mastermind that is George Balanchine.  Such privilege is MORE than merited for the Wheeldon.  It might well be strong enough to bring ballet back into dedicated focus for the musical theatre niche.  May it be in that way as potently promiscuous as the ‘jukebox musical’ seems to have proven.

 

(vi) The performers have now entirely cohered throughout into a truly ‘boffo ensemble’.  Whilst Max von Essen and the admired veteran Vivienne Cox amongst the noted principals had already established the full range of their character’s impactful story lines from the very get-go they have now been joined in such fullness by Britain ever fervent Jill Paice – bravely giving tasteful vent to the unfeigned isolation that wealth itself seems to demand - and the oh, so talented young American performer, Brandon Uranowitz, who now thoroughly injects heartfelt urgency into the tremulous humanity which lies behind and lives beneath the chipped – albeit brilliant – shoulder of his/our composer.  You can hear riveting single song samples from both by scrolling down in a radio studio recording here.   

 

All is not quite … but ALMOST perfect.  A few midges persist.  (i) The three lines of dialogue which immediately follow Uranowitz’s opening one line shot are entirely overwhelmed by the music.  This needs to corrected.  That brief dialogue between Fairchild and Cope is vital to the audience’s overall comprehension.  You can hear the static from their body mics being walloped but it is not enough.  If I didn’t know what they were saying I would have missed it entirely.  As it is it sounds like a mistake.  Perhaps a musical crescendo might be reached and then the three lines themselves – no more than two seconds in stage time -  might be backed by a deserved silence as embedded in a brief suspension.  (ii)  The dialogue in the very opening of the second act – during the soiree held in honour of the Ballet Chatalet by Lise’s guardians – needs to be smoothed out.  While it makes sense it remains too incommodious to purpose.  (iii) Personally I think the ‘Stairway to Heaven’ dream sequence is a tad far-fetched but it is so delightfully delivered by the Company - and the scenic effects so dazzling in their Art Deco charm – it would be churlish to alter/amend/dismiss it in any way.  So let that one pass. 

 

Last but certainly not least amongst the bounty are the leads themselves.  (vii) Leanne Cope has entirely blossomed.  Her singing now thrives comfortably on an altogether different level.  Before I thought her crooning  ‘pleasantly brave’.  Now I found myself not thinking about such trivialities at all.  Indeed I was too busy being thoroughly invested in her lyrics; engrossed in the refinement of her artistic invention.  In all Cope consistently glistens via those ever sensitive beacons that are her eyes.  They both pinhole and perforate.  They sing too. 

Everything about Cope’s stunning gift has been extended in its carefully wrought mould.  She lives in response.  Therein her magic sits.  Cope makes passivity active.  She positively purrs with a transcendent idealism.  Certainly I suspect she has never been better partnered.  Cope has said that she prised the fact that she got to dance with a principal from New York City Ballet at her last audition.  That – in itself - was a great achievement she tells.  ‘No way.  Get out of here’,  Robbie Fairchild blurts.  (‘I don’t do many pas de deux at the Royal Ballet’ she demurs.)  The very ‘butteriness’ of Ms. Cope’s take on Lise’s balletic technique (as Ashton might well have intoned it) brings the unique perfume of her relationship with Robbie Fairchild’s unequivocally demonstrative ardour as Jerry into vivid focus.  Their fish dives enfold with ease.  Both enact the drama of their second act separation scene thrillingly.  Its dramatic impact is visceral.  While never overwrought it is - at one and the same time - courageous.  It sears.  The over brimming abundance of all four eyes in that instance has it.  Their unscripted dialogue cries out in repressed pain as Jerry bellows into the wings at Lise’s frustrated departure.

 

As towards (viii) Mr. Fairchild:  Well, …. he remains ever more triumphant if such a thing were humanly possible … and it is.  IT IS.  Stars are born we’re told, not made.  May the Palace opening of AN AMERICAN IN PARIS be Fairchild’s native theatrical canonisation. 

Since his SAB graduation appearance one has been privileged to instinctively know that Fairchild was balletic world talent.  One sensed much the same with the teenage Woetzel.  In his four AMERICAN IN PARIS dance solos Robbie Fairchild brings the ravishing legato line of a Dowell or Legris to play in equal measure with the stupefying buoyancy of a Woetzel, Villella or a Barishnikov firing through space.  But now Fairchild joins a different realm.  His work with NYCB can never – EVER - be the same.  He will ‘do Romeo’ he says – that Romeo created FOR him – between now and his Broadway investiture – ‘if the dates work out’.  Only NOW he will – as he MUST - bestow upon it the theatrical vigour that has made him that rarity – (something I myself thought lost to time) – a Jack Buchanan; an Astaire for his OWN age; one uniquely devouring space through hearts – be it in dance, acting or voice [and, yes, there was a reason why Astaire was Gershwin’s favourite interpreter].  Fairchild – like Astaire before him – now more than honours the music of his literacy; multiple faceted as it is.  He mesmerises with a Jolson-like capacity that is uniquely his own.  I can but feel that Gene Kelly (who I once had the good fortune to meet) would stand and cherish the thrilling compass of Fairchild’s courage.  Its trigger electrifies, magnifies and inspirits. 

 

At both of the final Chatalet performances this weekend Fairchild pummelled his heart in recognition of the Parisian adoration and alone danced in step with their rhythmic applause that greeted the conclusion of the fifth full-company curtain call.  As the tears glistened in Fairchild’s eyes you knew that he had accepted his burden; its responsibility; the potential joy of our stated challenge.  He did so as much for himself as for us. 

 

‘The people who get on in this world,’ Vivie Warren proclaims to her mother in Shaw’s Mrs. Warren’s Profession, ‘are people who get up, look for the circumstances they want and if they can’t find them, make them.’  It’s abundantly clear.  Fairchild knows he can be a Garland of hope in a world where oil breaches the almighty $50 price barrier and the mighty Russian rouble may soon be hollowed; where Europe stands in deflationary toll with Japan.  Time makes the man they say.  Fairchild’s time is now ripe for our picking.

 

Still it was an immigrant who had REALLY ‘made it’ and he could only have done so by feeling an immigrant’s pain.  For this Brit – this Christopher Wheeldon – THIS is HIS American way.  This has been Wheeldon’s self-acknowledged university and he has more than graduated with honours.  I pray there may be many, many more such for him in his capacity as an overall director.  Certainly the potential is there.  Still there can never again be a first.  May this make him enormously wealthy in ALL respects.  He more than deserves it … much as The Royal Ballet MORE than deserves a new production of SWAN LAKE wrought at his now ready hands.

 

You’ll laugh perhaps but there was a still corner in me that gnawed.  In a sense happily so.  Rather than see Wheeldon spend his time in London for a mere re-production of this particular Parisian adventure (especially after Parry’s – in my estimation somewhat churlish – DanceTabs review) I dreamed for a moment that he might re-establish/re-enforce ballet as a key part of musical theatre artistry by re-tooling/re-imagining GIGI as a stage ‘dance’ musical:  A ‘dancical’ if you like built in Wheeldon’s AMERICAN IN PARIS mode.  I, myself, had seen the first Broadway attempt to take that film to the stage many, many years ago.  An admirable adventure it was.  One stuffed to its considerable brim with fine work from a brilliant Daniel Massey, a suave Alfred Drake, a vivid Agnes Moorhead and – from a balletic perspective – the always stellar Maria Karnilova.  [You can hear the latter two in the Contract Scene here.]  All of these luminaries are, of course, long dead.  That show was, in fact, to prove the final Broadway curtain for each.]  Still it was never ever entirely successful.  Last weekend I found myself wanting Wheeldon and his carefully selected team to grab hold of Cope and Fairchild and set the Colette in motion anew; to again see them toy.  Suddenly I could see Cope’s Gigi teaching Fairchild’s Gaston to discover emotional freedom through dance.  Before it closes for renovation it would be grand to hear the Chatelet’s historic rafters shake once more from the stamping of refreshed joy below.  It too could be both a homecoming and a rightful rebirth for the Colette and a further deserved excavation for Learner and Lowe. 

 

But Broadway and AN AMERICAN IN PARIS first.  Will it run?  Of course it will.  IT MUST.  It’s already passed its Vimy Ridge.  

Edited January 6, 2015 by Bruce Wall

[Bruce Wall]

A promo on bringing AiP from Paris to Broadway ... Lovely clip of Cope and Fairchild ... and Fairchild is very moving in his (non-stated) determination to reach the Great White Way ... It is amazing too that he has danced so many performances with NYCB in the interim.  He dances Romeo twice this week - and they started back in AiP rehearsals on Monday. 

 

https://www.youtube.com/watch?v=K7ivYBbq58I#t=53

Edited February 13, 2015 by Bruce Wall

[Bruce Wall]

For anyone wanting to catch up with The Incredible Mrs. Kay (not to be confused with 'The Incredible Mrs. A' - who was, of course, Gertrude Lawrence - and, of course, another British musical star on Broadway) there is an AiP preview WQXR video webcast early tomorrow our time.  Hopefully we will be able to catch up at another - not so late - GMT hour.  Info here.  (For those with late night tendencies ... it commences live at 12.30 am GMT.)

Edited February 23, 2015 by Bruce Wall

[bangorballetboy]

For anyone wanting to catch up with The Incredible Mrs. Kay

I didn't know Paul Kay's mother was appearing on Broadway!

 

Joking aside, I (for one) would much prefer Leanne Cope to be referred to by that name and not by reference to her husband. Not sure whether you're trying to compliment Paul Kay or Leanne Cope with the reference (or both) but I find it rather insulting to Ms Cope. I also think it's a bit "insider" and, accordingly, somewhat distasteful.

[Bruce Wall]

I didn't know Paul Kay's mother was appearing on Broadway!

 

Joking aside, I (for one) would much prefer Leanne Cope to be referred to by that name and not by reference to her husband. Not sure whether you're trying to compliment Paul Kay or Leanne Cope with the reference (or both) but I find it rather insulting to Ms Cope. I also think it's a bit "insider" and, accordingly, somewhat distasteful.

 

Please dear bangorballetboy know that there was CERTAINLY no offense aforethought on my part.  That I can promise you.  Quite the reverse.  I only thought of it when I was typing because of the title of the biography of Gertrude Lawrence by her last husband, a theatrical producer - whose name was Aldrich - and, thus the titled reference to 'Gertrude Lawrence as Mrs. A'.  It seems she referred to herself in that manner and a verse she wrote on the subject is quoted in the book.  Mine was but a feeble attempt at rhyming wit.  Nothing else.  PLEASE bangorballetboy know I meant NO offense to anyone.  I am a great admirer of Ms. Cope as I have written about at length above.  Lest anyone else be offended by this wording - which is certainly far from my desire - can I please ask that my posting No. 58 and any subsequent quotation of MY WORDS ONLY be removed in its entirety.  With respect, I thank you for respecting this request.  Dr. R B S Wall.

Edited February 24, 2015 by Bruce Wall

[capybara]

I didn't know Paul Kay's mother was appearing on Broadway!

 

Joking aside, I (for one) would much prefer Leanne Cope to be referred to by that name and not by reference to her husband. Not sure whether you're trying to compliment Paul Kay or Leanne Cope with the reference (or both) but I find it rather insulting to Ms Cope. I also think it's a bit "insider" and, accordingly, somewhat distasteful.

 

I do so agree. Leanne Cope is her professional name and that is what we should stick to.

[Bruce Wall]

The point is well taken.  I am so grateful to ALL for your kind and gracious advice.  I am so sorry that my attempt at wit misfired.  My sincere apologies. As I said no offense was intended.  I am so grateful to all at the wonderful BalletcoForum as I have been for almost two decades now (including the brilliant ballet.co.uk as it then was).  Bless you all.   You are always most kind in your understanding.  As I have said repeatedly above I am a great fan of Ms. Cope; most especially her revelatory work in this fine production. 

Edited March 2, 2015 by Bruce Wall

[Bruce Wall]

An in-depth NYT article of today's date on AiP can be found here.  It specifically focuses on RB Associate, Christopher Wheeldon, the production's director and choreographer.   

[Jan McNulty]

Leanne Cope feature in Playbill

[Bruce Wall]

Thank you for that, Janet.  It's interesting that the Playbill article makes Ms. Cope a RB 'principal' whereas others have listed her as a RB 'corps' member (while she is in reality, of course, a 'First Artist'.)   If R. Fairchild appears opposite her in a London production of AiP (and I do, genuinely think they might as I am convinced that it will be a Broadway success) it would be lovely if the two of them (R. Fairchild and Cope that is) might appear together during that sojourn with the RB perhaps doing a guest Apollo or R&J together for a performance or two (no more).  I wonder if - once they are in a regular Broadway run/schedule - and once Mr. Fairchild returns to his duties as a NYCB principal - which I'm sure he will do in a split role with his Broadway assignment - (much as his wife is doing in taking over certain performances for her sister-in-law [another NYCB principal, Megan Fairchild] in On Your Town currently on Broadway) -  I wonder if Ms. Cope might not guest for a couple of performances (no more) with NYCB in, say, Liebeslieder Waltzer or, certainly, Robbin's Fancy Free - both of which are key in Mr. Fairchild's vast rep.  Perhaps they could even do Wheeldon's Carousel spin and she could do the role that was Mr. Fairchild's wife's first principal creation (at 17) with NYCB, then opposite the legendary Damian Woetzel.  (Indeed it was Mr. Woetzel who chose her for it when she was still an apprentice.)  I would love to see them (Cope/Fairchild that is) together in any of those works and Ms. Cope's refreshed and refreshing acting abilities (such as are so clearly evidenced in AiP) would I know be dearly welcomed in any one of them. 

Edited March 6, 2015 by Bruce Wall

[Bruce Wall]

Interesting notations by a former ballerina who is a member of the AiP company here.