Showcasing a musical worthy of a date night, Beef and Boards Dinner Theatre presents “An American in Paris.”
Onstage now through May 14, the romantic love story follows young American soldier Jerry Mulligan (Jonathan Rose) as he tries to make a name for himself as a budding artist in Paris following World War II. However, when he stumbles across the charming ballet dancer Lise (Sophie Aknin), his life takes an unexpected turn.
The musical, which debuted on Broadway in 2015, is based on the 1951 film of the same name written by Craig Lucas, which featured Gene Kelly and Leslie Caron. The musical won four of its 11 Tony Award nominations, including Best Orchestrations.
Directed and choreographed by Ron Morgan, “An American in Paris” is incredibly dance heavy, featuring a range of styles — including jazz, ballet, tap and contemporary numbers. The musical and lyrical stylings of George and Ira Gershwin only elevate the romance and lightheartedness of the story which features classics such as “Liza,” “Stairway to Paradise” “But Not For Me,” “Shall We Dance,” “I Got Rhythm” and “‘S Wonderful.”
The overall pacing of the show is a little slower than most of the musicals Beef and Boards is known for, but don’t let that deter you. The show is full of melodic singing and mesmerizing dancing combined with banal post-wartime humor. However, there are moments in the show that nearly stun the audience — though it’s best to keep in mind it takes place in 1945, post-occupation France, where certain conversations weren’t always easy or safe to have.
But this cast works well together, leaving you on the edge of your seat as the theme of unrequited love for two of our three lovesick gentlemen unfolds just as Lise’s eccentric ballet comes together.
As Jerry and Lise, Rose and Aknin waste no time in stealing the hearts of audience members as the story begins. Though their happy ending may be a tad bit predictable, the chase between the characters as they fall in love and quite literally dance around one another is endearing and leads to a satisfying conclusion.
Henri Baurel (Ian Black) and Adam Hochberg (Austin Glen Jacobs) each brought their characters to life with such a force of compassion, humor and dignity that I found myself rooting for each of them for their chance at “getting the girl” at one point. Each had standout moments, and though Jacobs’ flair for dramatic and slapstick humor is apparent, his marvelous vocal skill is seemingly put on hold until Adam’s wistful solo in the second act.
Black and Jacobs later team up in act II for an over the top, jazzy tap break filled with all the glitz, glamor and showmanship Gene Kelly was known for in the original.
Sarah Hund, a regular powerhouse on the Beef and Boards stage, shines in her role of Milo Davenport, the rich American art aficionado. Her charm and class rivaled her character’s whit and almost regal swagger. While the show doesn’t revolve around Miss Davenport, I was often anticipating her every move and next line.
The Ensemble for this show were incredible to watch. Members of the ensemble frequently keep bigger or more complicated productions — such as this one — moving along at pace. With all the costume and scene changes, elaborate dance breaks and stunning vocals, they really made the show a marvelous spectacle to watch.
A new addition to Beef and Boards is a projection screen frame and backdrop fitted to the stage, allowing the hardworking folks in the tech booth to add a corresponding whimsical flair and Parisian ambiance to each scene.
Speaking of scenery, the set design for this show is possibly my favorite of the shows I’ve seen at Beef and Boards this season. It’s minimalistic and incorporates many prop pieces that are danced into and out of scenes by ensemble members. The standout pieces, however, are a baby grand piano and four old-fashioned French-style ballet mirrors that are reworked into nearly every scene.
Overall, it’s elegant and, combined with the period-accurate costumes, the entire production truly transports you back to 1945 Paris, France.
The show includes dark and serious content in addition to some sexual and war-related humor and innuendo. However, the show is rated PG — which is reasonable since, again, this takes place post-WWII.
My only issue with the show is that the vinyl dancer-friendly flooring used on the stage for the ballet numbers absorbed most of the sound from the tap shoes. While that tap number was absolutely excellent from top to bottom with all its intricately choreographed steps, the sound of the tap shoes was nearly all lost.
“An American in Paris” is showing at Beef & Boards Dinner Theatre, 9301 Michigan Road, for 47 performances through May 14 weekdays and Saturday evenings at 8 p.m., Sunday evenings at 7 p.m., and select matinees at 1 p.m. A dinner buffet and select beverages will be available prior to each show. Tickets start at $52.50 and are available to purchase at beefandboards.com.
Contact staff writer Chloe McGowan at 317-762-7848 or chloegm@indyrecorder.com. Follow her on Twitter @chloe_mcgowanxx.
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