An American in Paris Broadway Review: Song, Dance & Design
This paper reviews the Broadway stage adaptation of An American in Paris, examining how the production captures the postwar optimism of 1950s Paris through its Gershwin score, ballet-infused choreography, and meticulous period set design. The review evaluates lead performers Leanne Cope and Robert Fairchild, assesses the contributions of director and choreographer Christopher Wheeldon, and highlights the work of key creative collaborators including costume designer Bob Crowley and arranger Rob Fisher. The paper concludes that, while the production offers little in the way of political or social commentary, its romantic spirit and skillful stagecraft provide a welcome and emotionally resonant theatrical experience.
- Overview and Tone: Production's romantic optimism and postwar idealism assessed
- Musical Numbers and Choreography: Gershwin songs, ballet, and acrobatic dance evaluated
- Set Design and Period Authenticity: Period details anchor story in 1950s Paris
- Cast and Creative Team: Wheeldon, Cope, Fairchild, and collaborators profiled
- Conclusion: Production praised for sentiment and nostalgic stagecraft
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What makes this paper effective
- The review maintains a consistent evaluative voice, balancing acknowledgment of the production's limitations (lack of political depth) with genuine appreciation for its theatrical strengths.
- It moves logically through distinct production elements — tone, music, choreography, set design, and personnel — giving the reader a comprehensive sense of the show without redundancy.
- Specific details, such as naming individual cast members, creative collaborators, and particular song titles, ground the review in concrete evidence rather than vague praise.
Key academic technique demonstrated
This paper demonstrates the use of evaluative criteria in critical review writing. Rather than simply expressing personal preference, the writer applies recognizable standards — historical authenticity, fidelity to source material, performer training and background, and production design coherence — to support each assessment. This gives the review analytical credibility beyond mere opinion.
Structure breakdown
The paper opens with an overall assessment of the production's tone and purpose, then moves through choreography and music, set design, and the creative team before closing with a brief synthesis. Each paragraph addresses a distinct production element, making the argument easy to follow. The structure mirrors a standard theatrical review format suitable for an undergraduate arts writing course.
Overview and Tone
While its lightness delivers no depth in terms of political or social commentary, An American in Paris accomplishes what many Broadway musicals set out to do: provide a fantastic array of song and dance numbers sure to impress. As an adaptation of the original 1951 film, the Broadway production offers a modern rendition, albeit in period costume and set design. The music is nostalgic, and so are the dance styles. Viewers unfamiliar with the original film will understand how the producers seek to capture the spirited optimism and idealism that characterized both American and French society in the aftermath of World War II. The romantic tropes will likewise be familiar and require no prior knowledge of the plot or tone of the movie. Altogether, the happy ending and unabashed romanticism provide a welcome respite from the often cynical nature of postmodern theater and cinema.
Musical Numbers and Choreography
The Gershwin songs that punctuated the film are present again on stage, with an orchestra rendering them with great accuracy. Likewise, the choreography remains faithful to the source material but does include more athletic and acrobatic elements, as in the "Liza" number. Some of the more down-tempo moments in the play find counterpoint in lively but somewhat silly tunes like "I've Got Beginner's Luck." The female lead is a French ballerina named Lise, played by real-life ballerina Leanne Cope, who trained at London's Royal Ballet. Many of her dance pieces and several of the duets incorporate traditional ballet elements as well as more modern dance forms, including those she performs with her romantic lead. Both the male and female leads exude the joie de vivre that encapsulates the theme and tone of An American in Paris. Robert Fairchild, who plays the American GI in this Broadway edition, is also a principal dancer with the New York City Ballet.
Set Design and Period Authenticity
Set design is one of the strong points of the play, with great attention to detail. Key elements that signal authenticity include the Chanel signs, a tribute to the Parisian design house that flourished during the 1950s. The street fashions are tasteful and subdued — not at all outlandish or exaggerated — and at times downright simple, with rather muted colors and fabrics. Other period-specific elements that allow the audience to immediately recognize the story's setting include references to the De Stijl movement, frequent allusions to the war and the ongoing efforts to rebuild the City of Lights, and an unabashed celebration of the burlesque shows that epitomized Parisian nightlife during the era. The inclusion of tap dancing numbers and a few American jazz pieces also anchors the play squarely within its historical time frame.
Conclusion
Together, the elements of An American in Paris coalesce into a brilliant stage adaptation of the Gershwin film. The production evokes genuine emotion in the viewer, as it is a play designed to be sentimental and nostalgic. Audience members leave with a sense of optimism and an appreciation for the way that love and passion can overcome the overwhelming dreariness and desolation of war.
Works Cited
Wheeldon, Christopher. An American in Paris. Broadway Production, 2016.
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