Review: AN AMERICAN IN PARIS Is A Masterpiece in Melbourne

Entering the theatre, we see nought but a lone piano on the stage. This unassuming opening to An American in Paris could lead an unknowing audience member to think they were about to see a lean and understated production - but oh how wrong they would be. This musical is a veritable smorgasbord of colour, joy and movement. This reviewer spent the entire show with wide eyes, a beaming smile, and a full heart.

The show begins with an introduction to a city just newly opening up again, and it's impossible not to relate to the feeling of freedom and renaissance with theatre well and truly back from underneath Melbourne's lockdowns. Robert Fairchild stars as Jerry Mulligan, the ex-GI and aspiring artist who falls in love with Paris first, and Lise second. Lise is played by Leanne Cope, who is positively enchanting in the role. Fairchild and Cope are reprising their roles of Jerry & Lise after many a season of An American in Paris - including Broadway and the West End. It is undeniably clear why they have continued to perform together in these roles. They are both the definition of triple threat, with sublime voices reminiscent of the old hollywood movie musical, awe inspiring dance ability, and a je ne sais quoi that lightens up the stage the moment they enter. Of particular note, are the numbers I've Got Beginner's Luck and the American in Paris ballet - the first is a joyous escapade that honours the vibrancy that made the original film such a fan favourite and the latter is a 14 minute spectacular of athletic and balletic story telling that brings the audience to the edge of their seat.

If we're talking about showstopping moments, which this musical has by the bucket load, then mention must be made of Sam Ward's Henri. Ward brings a consistent humour and soul to the production as Henri, the French man vying for Lise's heart, and then adds a surprise to the mix with the fantastical and soaring rendition of I'll Build a Stairway to Paradise, surrounded by bejewelled and feathered chorus girls. The audience went appropriately wild with applause for this number on opening night.

Playing off Ward's comic timing is Jonathan Hickey as the ex-soldier turned composer Adam. His vocal addition to the recurring musical trio moments throughout the musical are stunning and the complexity of his characterisation of Adam brings much needed sombre reminder of the emotion embedded in Craig Lucas' book.

The strong female role of Milo, a rich American benefactor who falls in love with Jerry, is played with elegance and vulnerability by Ashleigh Rubenach. Perhaps the most beautiful voice of the show, Rubenach is a natural leading lady.

The incomparable cast are given a magnificent canvas on which to create their art with Bob Crowley's set and costume design. With clear and considered nods to Mondrian, Monet, and influential artists of the time, the stage is a large, rich, pictorial character of the show.

There is no doubt this show belongs in the hands of director Christopher Wheeldon. Wheeldon has presented an extraordinary piece of theatre that just grows and grows with each number and each step. The choreography ensures that dance is just as effective an avenue to tell a beautiful tale as through the lyrics and book. His sweeping and magical choreography blends technically spectacular Australian Ballet performers with the jazzy joie de vivre of Australian musical theatre stars in a seamless and soaring visual treat.

It is impossible to leave this show without a strengthened appreciation for the arts in a post-lockdown world. Beg, borrow or steal a ticket to this absolutely triumphant masterpiece.

https://americaninparis.com.au/

Melbourne

Now playing - only until 23 April

State Theatre, Arts Centre Melbourne

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Sydney

From 29 April

Theatre Royal Sydney

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Perth

9 - 27 July

Crown Theatre

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Adelaide

From 24 January 2023

Her Majesty's Theatre

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