Buddy

Meunier fan, what you've described is essentially what I recall seeing at the preview opening. So I wonder how much of the beginning was actually changed, perhaps only Brandon Uranowitz's very brief opening dialogue, that I kind of liked. In any case I think that trimming back some of Act I is perhaps a good idea, in particular, some of the postwar heaviness and maybe some of the Act I dialogue and cast performance. I do have to say that there seemed to be a lot of subtle, good stuff (pacing and staging) happening, and I really would like to have seen it again to watch for this more carefully. And once again, I have to say that I wish this production all the success possible. So much of it is so fine !

I'm not sure how this should be treated here, as it is a point of information and not an opinion, so moderators, do as you see fit. This was posted by heylookity at Dansomanie [ballet forum] 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”.] Both myself and the man sitting next to me at the opening preview thought that shortening the first act might be helpful.

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.”

Thanks also, meunier fan. I’m very glad that you enjoyed it as much as you did. I look forward to seeing it a second time, maybe June. I did find Leanne Cope’s singing to be quite beautiful. It was one of the highlights for me, including both a solo and a duet. From The Guardian, an interview with Christopher Wheeldon: “He [Christopher Wheeldon] admits he didn’t commit fully to this production until he was sure he’d found his two leads. “ “He’s [Robert Fairchild] a showman on stage, with that very grounded American theatrical quality. And I always suspected he could sing.” “Lise was more elusive. Wheeldon saw hundreds of dancers before he found Leanne Cope, a First Artist with the Royal Ballet. “She’s not got one of those wowzer techniques, but your eye always goes to her. She’s got this beautiful, natural quality that’s perfect for Lise.” ” And another insight into the directing. “ “I realised dancers and actors work in very different rhythms. Dancers are used to delivering instantly. Actors are slower, they like to think about the how and the when and the why.” ” http://www.theguardian.com/stage/2014/dec/08/an-american-in-paris-christopher-wheeldon-gene-kelly (thanks to Balletco for this source)

Very glad to hear this, abatt. Okay -- In the "you only live once" department, "why not", if this could be added somewhere, probably after the Staircase to Paradise number, "what a wonderful world it would be". https://www.youtube.com/watch?v=cZUeXPgSqYQ&list=UUmQ0SKn1xVQP-JMKO7m1FwQ Oxana Skorik and Andrei Yermakov -- Raymonda Added: And since we’re on Cloud Nine — Tweeted by Robbie Fairchild yesterday: “Overwhelming feeling of love, happiness, excitement & gratitude. We open in 3 days!” https://twitter.com/robbiefairchild

I've loved seeing her at the Mariinsky. I especially liked her Myrtha (Giselle) at the Festival a few years ago. I recall seeing her for the first time in Washington DC, nearly ten years ago(?), when they had a ballet companies' schools series. Most companies sent a large group. The Mariinsky sent two dancers, Daria Vasnetsova and her partner. She was perhaps my favorite. I've watched for her carefully ever since. I've not yet been to Finland, but this might another good reason to do so. I wish her much success.

This is the closest to a press review that I’ve found. It’s from Adam Moscoe at the The Huffington Post. It has tons of good info and it’s title speaks for itself. American in Paris: ‘ S Wonderful http://www.huffingtonpost.ca/adam-moscoe/american-in-paris-s-wonde_b_6265856.html I would want to add my opinion, once again, that I thought Bob Crowley’s scenery was perhaps the most impressive artistic statement, ‘so far’, in the entire, fine production, especially his use of projection. One of the reasons for its use was to make it unnecessary to ever lower the curtain and the transitions were as seamless as the backdrops were enchanting. Absolutely world class art, making the entire, highly artistic and enjoyable production perhaps worth seeing for this alone.

“The central focus on dance is the major departure from the film and the ballet sequences are one of the most impressive parts of the entire work. “Costumes and decor, by Bob Crowley, are period perfect. When the show hits its stride it will be unstoppable. “The story is told with assurance and the handsome and often glamorous sets work well to give the story a natural flow. “Shouts of approval and a standing ovation, rather rare in France, ended the triumphal launch of a major new work.” [same for several performances that I saw in Paris by the Miami City Ballet a few years ago] https://figarosi.wordpress.com/2014/11/28/an-american-in-paris-in-paris/ Added: This is from “Figaro Si! A daily magazine of classical music.” If the article doesn’t appear, you may have to Google it yourself, as I’ve had to do. ("an american in paris figaro si", works for me) Having seen the same opening night I agree completely with what I excerpted here, which is also consistent with the general point of view of the article. The article does mention that there were sound system problems in the first act. I didn't notice them. Added added: The article also mentioned that some critics were invited to what seems to be the official opening December 10, so that might account for no press reviews so far.

Thanks, sidwich. Actually this video clip has been included at the end of my review (Nov. 25), but can be easily missed among all the other posted material. Here is a Christopher Wheeldon quote from the Dance Magazine article that helps define the special nature of this production. “As the project’s unfolded, it feels right as a director-choreographer vehicle, because then everything about the show moves with the same kind of language—the transitions, everything,” says Wheeldon. “And it’s a very dance-centric story, the version that we’ve made.”

Billboard Times Square http://instagram.com/p/wH1Yr2RWq0/ The reason that I keep posting this sort of thing is that I think that this production has so much going for it and does deserve all the support that it’s receiving. Another nice thing is that those involved are very likable and enthusiastic (as well as talented). Look in on their tweets with their photo instagrams ( Leanne Cope, Robert Fairchild, Sara Esty, Christopher Wheeldon2….) They brighten up my day. This adds considerably to the aura and the reality of the entire production. We shouldn’t forget that it’s as much about enjoyment as it is about artistry.

I've resisted moving Olga Smirnova to the Bolshoi topics for over two years, Yid. I love comparing her to Oxana Skorik for one thing. For another she's too distinct to really be categorized anywhere and still has lots of Vaganova/Mariinsky in her. I even try to get Svetlana Zakharova in my Mariinsky posts as much as possible. Furthermore, regrettably, I've yet to visit to Moscow. But you do have a good point and in regard to Olga Smirnova, well, I hope to make it to Moscow one day and maybe I can take her with me.

Here’s the December Dance Magazine article about the entire production with Leanne Cope on the cover and being the subject of about a third of the article. "Asking Fairchild to audition for Jerry was an obvious move. "Some surprises are pleasant ones. [Christopher Wheeldon quote] “Working on a book was something that I’d never done before,” he says. “I’ve only adapted synopses of ballets. But after working with Craig Lucas, who’s been amazing and supportive and patient with me, it’s become something I’ve really enjoyed, creating an outline and then working on structure and storytelling, fine-tuning and making the characters more focused.” "Her [Leanne Cope] transition from ballet to musical theater isn’t the stretch it might seem. She’d had dreams of dancing on Broadway since before she entered at The Royal’s lower school, White Lodge. So throughout her training, she took voice lessons, and even won the school’s singing competition two years running. (“It’s my claim to fame!” Cope laughs.)" http://dancemagazine.com/issues/December-2014/A-brit-an-american-paris

And some quick insight into the musical choices. https://www.youtube.com/watch?v=8p6dE-Jj80A Again from the Leslie Caron autobiographical excerpt in the program: One thing that sustained me throughout this intense first time experience: the passion that the syncopated music of George Gershwin inspired in me….the orchestration fascinated me: what sophistication and what humor. And then to learn modern jazz dance was great fun. Added: This is a brief interview in french with Christopher Wheeldon in Paris Match magazine. He says that at first the American producers just wanted him as a choreographer. Somewhere along the line they changed their mind and wanted him to direct the entire production. He said that he'd never directed actors. They responded that he indeed had in his Cinderella and Alice ballets. He is later asked in the interview if there isn't a great difference between directing ballet dancers and musical comedy performers. His response in essence -- 'Not really.' http://www.parismatch.com/Culture/Art/Christopher-Wheeldon-enchante-le-Chatelet-An-American-in-Paris-652658 Et Voilà ! Bravo ! The Mayor of Paris liked it a lot ! -- "It’s very, very beautiful, I’m very proud, proud of the Chatelet….and Bravo to it’s Director and all the cast." http://www.dailymotion.com/video/x2bh96b_an-american-in-paris-anne-hidalgo_music So let's dance ! http://www.dailymotion.com/video/x2b3qd4_extrait-un-ame-ricain-a-paris-au-theatre-du-chatelet_news

Thanks, Bella 12. I'll notify Ballet Strategic Reconnaissance London immediately. I assure you that no stone will remain unturned until we get to the bottom of this.

In regard to Daria Pavlenko, Amour, her two Giselles in Washington DC (2006) were among the finest performances I've ever seen. I saw her two years ago in a brief 'modernish' performance at the Mariinsky Festival and she looked as physically proficient as ever and impressively mature in her artistry. I'll also add that having viewed her offstage for the first time years ago, she was one of the most beautiful women that I've ever seen. Her husband, Alexander Sergeev, is indeed a wonderful performer. Added: I would also say that she is a person deserving of the most respect possible.

Thanks, dirac. He might want to take Leanne Cope with him. She’s special cargo which should be handled lovingly. Robert Fairchild, being a Principal at NYCB, may want to stay there for awhile, although later on, an acting/dancing career could be a great move. Roslyn Sulcas has been retweated: Fun to talk to @robbiefairchild and Leanne Cope during American in Paris rehearsals on Thursday. Tantalising glimpses of the show. Maybe we’ll see some sort of NY Times article soon. I haven’t found anything yet from the press. I have noticed a picture of Leanne Cope on the cover of Dance Magazine, perhaps next issue. [spelling correction made]

Leanne Cope Interview What do you see as your biggest challenge to come? LC: How I see myself — Leanne the ballet dancer or Leanne the actress? [Once again very much like Leslie Caron. According to her autobiographical excerpt in the Paris program Leslie Caron was not at all interested in Gene Kelly’s offer. She wanted to stay a ballet dancer. Only to satisfy her mother’s insistence that it would be a more secure future did she audition. She then went on to make 70 movies. Leanne Cope is now 30 with 11years at the Royal Ballet. Leslie Caron was only 18. Still….] LC: ….it is the opportunity of lifetime, I can’t wait. I am so excited. http://www.dancing-times.co.uk/news/item/1679-december_2014 If some of you, like myself, were wondering how Christopher Wheeldon became a theatrical director and to what extent he actually involves himself, this gives us some idea. “So, when producers approached him after the premiere of his Alice’s Adventures in Wonderland for the Royal Ballet in 2011, the prospect of a reworked version was too tempting to pass up. “The team wanted An American in Paris to be the vision of a single director-choreographer but Wheeldon initially resisted the offer to direct. “At the beginning I felt so far out of my comfort zone that I couldn’t even see it,” he says of directing actors as well as dancers. “Talk about a learning curve – it’s been like a vertical climb.” “I’ve fine-tuned pretty much every penny on the show, down to what kind of paint goes on the sets.” “For the time being, however, Wheeldon is content with being a “lucky visitor” in musical theatre. “I hope they’ll let me stay,” he says with a laugh.” He also credits Natasha Katz, along with Bob Crowly, for the Outstanding(!) “designs.” http://www.ft.com/intl/cms/s/0/05880bde-6e6b-11e4-afe5-00144feabdc0.html?siteedition=intl#axzz3KRp5pg00 “Musical theater has been borrowing from the ballet world lately, and Wall Street Journal critic Robert Greskovic joins the Let’s Talk Arts podcast to discuss.” [ Some of us here might have heard of him ] One thing that he mentions is that, although Megan Fairchild only has a limited role in On The Town, her dancing has real substance. The moderator adds that in the past ballet’s use in musical productions has been essentially limited to dream sequences. And in answer to Abatt’s question from Oct. 19, 2013, yes, Leanne Cope is indeed the Royal Ballet’s Jonathan Cope’s daughter, according to Robert Greskovic. http://blogs.wsj.com/metropolis/2014/11/26/lets-talk-arts-little-dancer-at-the-kennedy-center/ This is certainly an interesting topic that is worth watching for carefully in the new American In Paris production. [Thanks to dirac for posting most of these sources] [it appears from a post further on that Leanne Cope may not be Jonathan Cope's daughter]

For anyone who might be interested. Musical Numbers and Ballets 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 Also in Dance Times, December Gerald Dowler interviews The Royal Ballet’s Leanne Cope and choreographer Christopher Wheeldon about his new stage version of An American in Paris: Wheeldon: “Certainly working on narrative dance, exploring text and character development has been a great way in to learning how to shape the book for American and direct the actors. I think it goes both ways though. We staged American last year as a studio workshop right before I started working on The Winter’s Tale and I definitely found myself approaching the process differently, probing much deeper into character and how to build movement that feels like it is naturally emerging from text. This has been an incredible learning experience that will inform how I work from here on…” A digital copy can be purchased here. http://www.dancing-times.co.uk/news/item/1679-december_2014 In one of the video clips posted above (3 minutes approx) the comments are dubbed over in french. If you want to hear them in uninterrupted english start here at 3:20.

Hey, forget them! How did you like my two second Broadway debut? And forget that girl on the counter. She's dangerous. Yes, they do perform wonderfully and are a breath of fresh air as well.

Something that is made quite apparent in “The cast talks characters” video clip is that the artists see their roles as developing. My feeling after viewing the first performance is that it should not be set in stone, perhaps never. In fact the Paris series is officially called A Preview. The foundations are excellent. The scenery is an artistic masterpiece, probably best left alone. The fine professionalism of the backup actors/actresses reinforces everything. The choreographic brilliance of Christopher Wheeldon is a gold mine of possibilities that’s always worth ongoing exploration, expansion, transformation, and finally, development in presentation. The two star performers are a fascinating choice. They come from the world of ballet and that's their strength. Their dancing stands out as something very special in the overall progression. Yet, Leanne Cope may have already proven herself to be an actress, singer and theatrical phenomenon of huge ability, perhaps not very different in background and promise from Leslie Caron herself. Robert Fairchild did much better as an actor and a singer than I would have hoped for. I think that not only can he grow even more, but that his essence is endearing and almost enough in itself. The creative 'support team' has succeeded impressively. This includes staging, story, music, costumes, specialized choreography and everything else. The fact that someone entrusted Christopher Wheeldon, with no previous experience as a theatrical director, to oversee such a considerable project speaks for itself. Not only does he seem to have succeeded admirably, but he’s also integrated his choreographic prowess into the artistic mix. From my first viewing, the choreography, alone, is worth great attention and respect. It’s subtlety infused throughout and at critical points, the center of everything. It’s a world in itself as well as a world within a world. So I’ll be fascinated to see where this all goes. I read in a recent interview, that the New York critics, for one, tend to only review the opening and not comment after that. I think that a presentation such as this is definitely worth returning to, as I hope to within a year, for possibly new and rewardingly different discovery. Most important, perhaps, is that it’s off to a very fine start and has already made the Paris audience very happy in the process.

Nice two minute video clip posted by the company. “The cast talks characters, and we get a glimpse of previews in Paris!” Robert Fairchild — “I’m on Cloud Nine, I really am.” Christopher Wheeldon — “I’m elated actually.” By the way, that’s me, 0:19, second balcony, front row, second bay from the right, sitting down and looking through my trusty theater glasses. Always wanted to be a part of a great Broadway production. https://twitter.com/AmericanInParis and

Sorry, I can't resist this one. There's an excellent program that I bought in french. Hopefully it’ll be reproduced in english. It has about 100 pages of text among other things. Perhaps the most insightful remark comes from Leslie Caron’s mother when her daughter, only eighteen years old, was considering moving from France to LA to be in the film. “ And, whatever you do, don’t marry Mickey Rooney ! “ If you’re up in heaven somewhere, please forgive me, Mickey.

Here is something that you might enjoy. Robert Fairchild: (Nov 22. Opening night) “ Did that really happen??? Omg. Words fail. Ok let's do it again!!!!!! “ And apparently there was an invited dress rehearsal Friday night. Leanne Michelle Cope: “ I had the time of my life tonight and this is just the beginning. ” Max von Essen “ Joy, thrill, relief & everything in between. We did it!! Merci. I will NEVER forget this night! “ https://twitter.com/robbiefairchild Sara Esty “ Final dress tonight and first preview tomorrow. Not even a hashtag can explain the excitement!!!! “ https://twitter.com/estygrl And who could this be ?

I was there at opening night. This is my first chance to post anything. It’s a fine and very sympathetic production. There’s a lot to like here. Some parts are absolutely outstanding. My sentimental favorite has to be Leanne Cope as Lise. She radiates Leslie Caron. She is lovable, precious and highly talented. She sings beautifully. She’s in three songs including a solo and a duet. Her acting (with a French accent) is first rate. Her dancing, of course, is excellent. Interestingly, Sara Esty, whom I like very much, formerly Miami City Ballet, is her understudy backup. Robert Fairchild sings fine, much better than I was expecting. He’s in five songs, including one duet. His acting is also fine. If he doesn’t project quite as much as the theatrical professionals alongside, it might actually add to the reserved, somewhat innocent charm of his character. And his dancing, naturally, is the best. The play seems evenly balanced between song and dance, drama and ballet. It’s a Broadway musical comedy. Much, if not all, of the supporting cast seems to be from Broadway and the main supporting actors/actresses do a lot to solidify everything. They include Brandon Uranowitz (Adam Hochberg), Max von Essen (Henri Baurel) and Jill Pace (Milo Davenport). The Livret by Craig Lucas works fine. Not all the songs are from the movie, but they’re all Gershwin. The scenery (with lots of projected imagery), created by Bob Crowly, is perhaps the most artistically outstanding element of the production. It’s great ! My favorite part is when Leanne Cope is seen dancing, through projection, in several large mirrors. She appears in one and then another as a silvery image. Each sequence is brief, very 21st century and captivating. It all lasts about five minute and is probably meant to reflect the movie scene where Henri is describing Lise and she appears in different costumes and settings. The staging here is absolutely brilliant ! The movie’s seventeen minute dance sequence is reinterpreted very well by Christopher Wheeldon. All the play’s ballet dancing has fine moments of Wheeldon creativity. Sam Davis is given credit for “Dance Arrangements” in four of the song and dance numbers. If someone were to ask for suggestions, they might consider slightly streamlining the first act. Also highlighting more and spiffying up the Christopher Wheeldon choreography would be nice, but maybe this isn’t the emphasis that they want. Still, it could make it one of a kind very special. The audience seemed to enjoy it greatly. It runs for about three hours including one intermission. Everything was translated into french by an overhead printout as at an opera. I believe that there were four enthusiastic curtain calls. This is a sincere, highly professional and first class effort by everyone. With a bit of time and some tweaking it could be a classic. It grows more dear in my mind with each recollection. Added: "Sous le charme d' ['Under the spell of....'] "Un Americain a Paris"...." There are two preview video clips included. http://culturebox.francetvinfo.fr/scenes/comedie-musicale/un-americain-a-paris-au-charme-renouvele-dans-sa-version-scenique-206272 (thanks to Dansomanie) Correction made to post: Jill Pace is the actress and Milo Davenport is her character, not the reverse.

More preview articles are appearing. This is from one of them. “With the movie as a "launching point", the original Gershwin score, a big dose of Gene Kelly inspiration and brand new choreography and scenography, "An American in Paris" hopes to get a whole new generation of audiences tapping along. "Gene Kelly embodied that kind of style, that jazz style and the tap... and the sort of combination of those with ballet and with my more contemporary vision of ballet kind of blends lots of ingredients in making a new cake." [Christopher Wheeldon] “Wheeldon said he wanted to evoke a sense of "the city after the war, after the occupation, rebuilding. I wanted it to feel like Paris... we spent a lot of time in making the neighbourhood.”” http://www.thelocal.fr/20141117/an-american-in-paris-musical-to-premiere-in-paris (thanks to BalletcoForum) Added: This is an article by Gene Kelly's wife and biographer giving some very interesting insight into the making of the movie and expressing her desire that Gene Kelly be given proper recognition. “As Leslie Caron confirmed when asked to comment about Minnelli's role shooting the picture, "Oh, no, it was Gene Kelly behind the camera!”” http://www.huffingtonpost.com/patricia-ward-kelly/an-american-in-paris-without-gene-kelly_b_6155522.html (thanks again to BalletcoForum)