“AN AMERICAN IN PARIS,” through Oct. 15, Eccles Theater, 131 S. Main (801-355-2787 or artsaltlake.org); running time: 2 hours, 30 minutes (one intermission)
SALT LAKE CITY — Utahns looking to experience the magic and romance of Paris need not travel any farther than the Eccles Theater and the traveling production of “An American in Paris,” which runs through Oct. 15.
Based on the 1951 film starring Gene Kelly, “An American in Paris” the musical debuted on Broadway in 2015 and went on to win several Tony Awards, including for best choreography, orchestrations and lighting and scenic design for a musical, and it’s easy to see why.
Using the word “musical” to describe “An American in Paris” may not be the most fitting term, as the show is really a part musical, part ballet hybrid. But whatever you call it, the production exudes charm and is completely captivating.
The show tells the story of an American soldier and aspiring artist named Jerry who, after fighting in World War II, decides to make Paris his home. On his first day as a new Parisian resident, he runs into a beautiful woman and although he doesn’t get her name, can’t seem to get her off his mind.
Meanwhile, Jerry quickly becomes friends with a fellow soldier, Adam, who is trying to make his way as a pianist, as well as a wealthy Frenchman named Henri, who has dreams of leaving his father’s successful textile business to become a nightclub star. Not only do the three men have a passion for their respective art in common, they are also each in love … with the same girl, unbeknownst to them.
Enter Lise, an up-and-coming ballerina who is the object of all of their affections. She’s Henri’s soon-to-be fiance (if he can muster the courage to ask her), the prima ballerina for which Adam is composing a ballet and the mysterious girl Jerry met on his first day in the City of Lights. But who will get the girl?
Jerry (played by McGee Maddox), Adam (Stephen Brower) and Henri (Nick Spangler) make up a fun trio and play well off of each other. Spangler portrays a nervous dreamer, who despite a running joke of his attractions lying “beyond the fairer sex,” obviously adores Lise, and Brower’s Adam is a brooding, cynical artist with a soft side waiting to be discovered. Both men handled their parts effectively and exhibited strong singing voices.
Maddox’s Jerry is the unfailing, often arrogant, optimist. Maddox’s dancing skills were undoubtedly top-notch and were obviously the key factor in his being cast in the lead role because his lackluster singing and stiff acting left quite a bit to be desired. Perhaps it has more to do with how the character is developed — or rather undeveloped — in the script, but Maddox’s Jerry isn’t particularly likeable, making it hard to root for him in the fight for Lise’s heart.
Sara Esty as Lise, on the other hand, was mesmerizing. From complicated solos to challenging partner routines with exquisite lifts to simply sitting on a bench, Esty’s every movement was graceful. And not only was her dancing beyond elegant, but her singing was beautiful to the point that it was unfortunate the audience didn’t get to hear more of it.
Overall, “An American in Paris” doesn’t feature as much singing as one would expect from a Broadway musical and uses dance instead of speaking or singing to communicate the story. And sweeping ensemble song-and-dance routines are replaced with multiple complicated ensemble dance numbers. The choreography proved to be a highlight of the show, especially in “I Got Rhythm” and the long ballet sequence “An American in Paris.”
The stronger performances combined with music and lyrics by the composing brother duo George and Ira Gershwin, lighting design that is full of emotion and gorgeous scenic design with a hand-drawn quality to it create an unforgettable night out that is unlike most theatrical experiences.
Content advisory: “An American in Paris” contains depictions of social drinking and mild swearing throughout.