AN AMERICAN IN PARIS at the Dominion Theatre - S'Wonderful?

It's big, it's bold, it's ballet as well as a musical - a ballical!  AN AMERICAN IN PARIS won 4 Tony Awards on Broadway and now it's opened at a recently-renovated Dominion Theatre but did it leave me dancing up Tottenham Court Road?

To be honest, I have never been a fan of the 1951 film starring the winsome (losesome) Leslie Caron and the overbearing ego of Gene Kelly - I have always thought it a fairly lumbering, unfunny film and justifiably overshadowed by Kelly's next film SINGIN' IN THE RAIN.  But here we are, sitting down to see the stage version which comes tailing success and awards...

The musical is the first to be both directed and choreographed by the British ballet choreographer Christopher Wheeldon (he had previously done the dances for the 2002 musical SWEET SMELL OF SUCCESS) and was first staged in Paris at the Théatre du Chátelet - a unique theatre in that city that stages large-scale American musicals - which then did the 'coals to Newcastle' thing by transferring to New York. 

Wheeldon has done a wonderful job in making the show 'move' - even the dialogue scenes seem choreographed - and the show certainly moves along briskly.  His choreography is endlessly inventive and it really lifts the show as the book by Craig Lucas is shockingly mundane.  You get the distinct impression that a fairly straight-forward plot - American would-be artist in post-WWII Paris falls in love with an enigmatic girl who is also loved by two of his friends - is dragged out to snapping point with endless complications and a particularly drippy heroine.

The lame script ultimately gives the show no real heart and no matter how good a show's music, choreography, design or performances are, if you have no interest in the characters you are watching or care for their travails then there is no emotional engagement.  However - along with Wheeldon's wonderfully vibrant choreography which luckily punctuates Lucas' bland tale frequently - the production is always watchable thanks to Bob Crowley's wonderful design: filmic video projections of Paris streets being hand-drawn move the action along elegantly and right at the top of the show there is a wonderful moment when a Swastika is torn down to envelope the stage in a massive, billowing tricolor.

The best is left for last with two barn-storming numbers: I'LL BUILD A STAIRWAY TO PARADISE builds wonderfully from a singer's shaky performance in a Paris nightclub to a gloriously over-the-top fantasy sequence paying homage to New York's Chrysler Building, and finally the climactic 12 minute-plus title ballet explodes onto the stage with Crowley's Mondrian-inspired designs, Gershwin's evocative music and Wheeldon's delicious choreography.

The AMERICAN IN PARIS ballet also showcases the marvellous dancing of the two leads, Robert Fairchild (ex-New York City Ballet) as Jerry and Leanne Cope (ex-Royal ballet) as Lise, who are reprising their Broadway roles.  Fairchild is a real find: he has a nice personality onstage, a pleasing singing voice and needless to say his dancing is a joy to behold.  Leanne Cope has a harder task as Craig Lucas has saddled her with such a drip to play but her dancing is a true delight.  Kudos do have to go to the 15-strong orchestra who made the Gershwin songs sound great.

The supporting cast includes David Seadon-Young, Haydn Oakley, Zoe Rainey and Jane Asher but again Craig Lucas' script gives them unfunny lines to say and two-dimensional roles to play.  I also think a major problem is having the show in the Dominion; no matter what they have done to it, it was a barn before and it's a barn still with zero character.  It's a tough space to play 'heartwarming' - the elephantine quality is also matched in the programme being upgraded to an enormous souvenir brochure: bigger is not necessarily better. 

Would I recommend it?  Yes I think I would though I feel no urge to return to see it myself.  It was certainly a feast for the eyes and ears while leaving the heart unmoved.

A few weeks ago Owen and I made a rare visit to the Strand Theatre as was, the Novello Theatre as is, to see the Regents Park Open Air transfer of it's summertime hit CRAZY FOR YOU.

The Open Air Theatre's artistic director Timothy Sheader has hit upon a winning streak with his musicals: HELLO, DOLLY! won them the Evening Standard award for Best Musical as well as 3 Olivier Awards and last year's INTO THE WOODS won the Best Musical Revival Olivier Award and CRAZY FOR YOU has gone one better than those by moving into the West End.

I must admit that looking back on the experience I am a little surprised as, although enjoyable, I found the show a little under-powered with choreography which seemed to echo 42ND STREET a little too strongly.I think my problem with the show is Ken Ludwig's rather one-note book: it has enough stock musical comedy characters such as the energetic leading man and spunky leading lady; the high-class unwanted girlfriend and the rough-and-ready joe she sets her sights on; the waspish grande dame and the egomaniac theatre director et al but none of them seem particularly well-developed and their actions are dictated by the needs of the cobbled together Gershwin songs.

Peter McKintosh's standing set which would have filled the Open Air's stage seems oddly forlorn within the proscenium stage at the Novello and rather than looking tastefully elegant tends to just look a bit cheap.It doesn't seem like I enjoyed it much does it? I did actually and my enjoyment had a lot to do with the delightful performances by the leads.

Sean Palmer gave a winning performance as Bobby, the banker who has a secret desire to dance on Broadway - I know, ONLY in musical comedy. After failing in an audition with the over-the-top Broadway producer Bela Zangler his imperious mother packs him off to foreclose a failing theatre in Nevada. Needless to say Bobby turns this to his advantage and persuades the townsfolk that he is in fact Bela Zangler and he has come to give their theatre a boost. Palmer is a real find, a likable personality who can carry a tune, and more importantly, dance up a storm!

One reason that Bobby is determined to stay is the go-getting charms of Clare Foster's theatre-owning Polly and she too, gave a performance of great charmth and warmth (to quote Sam Goldwyn said). They were a delightful couple on stage - a rarity these days.

The supporting company were a bit more uphill in the charm department but the show gave David Burt a marvellous opportunity to shine as the over-the-top Zangler. His bewildered fish-out-of-Broadway-water when he unexpectedly pops up in the town was a great comedy showcase for him and his double-takes and pratfalls were a real joy.Needless to say any show that boasts a score including SOMEONE TO WATCH OVER ME, EMBRACEABLE YOU, I GOT RHYTHM and THEY CAN'T TAKE THAT AWAY FROM ME is a must-see and there are enough lesser-known Gershwin songs to keep the show bouncing along - whatever the drawbacks of the book you know there is going to be an enjoyable song along in a while.

CRAZY FOR YOU has no obvious star performers, is not based on a film (although a few have been made from it's source show GIRL CRAZY) and is not a pop/rock songbook musical - so to transfer it into the West End which is dominated by all the above is a brave venture - and for that alone it deserves to succeed.