An American in Paris

The high standard of work often attained in these show-in-a-week projects can disguise just how much organisation and effort goes into them.  The challenge is daunting enough when you are staging a popular, relatively straightforward piece packed with familiar songs and energetic company dancing.  “An American in Paris” is not that sort of musical.  Yes, there is a love story, or more accurately several love stories, at its heart, but it’s a complex web of relationships further complicated by tensions between love and obligation, doubts about sexuality, and the lingering influence of the recently ended occupation of Paris.  Yes, there are some terrific songs – “I’ve Got Rhythm” and “But Not for Me” are particular favourites of mine – but they’re not often heard these days.  And yes, there is some company dancing, but much of it is balletic, with the principal dancers evidently bringing years of training to the production.  Add in foreign accents and period detailing, and install a 13-piece band in the pit – how can you possibly get on top of all that in a week?

And yet Odyssey Youth pretty much did just that, in a production that also showcased the company’s capacity to develop local young talent.  Most of the leading principals were familiar faces from past productions, while a range of cameo and supporting roles gave younger members opportunities to find their feet and their voices on stage.  The ensemble was also given plenty to do, and I don’t doubt that stars of future shows were right there adding colour and context to post-war Paris.

It was evident that a lot of good habits had been instilled into the company.  The principals knew their lines and cues thoroughly, and the dialogue, such as that between the three male protagonists towards the end of Act One, really cracked on.  A few of the more emotionally-charged moments, notably in Act Two, would have benefited from the lines being allowed to breathe a bit more, but that will come.  The French accents were generally consistent and persuasive, with comedic exaggeration largely avoided.  The blocking was good with the whole stage used effectively, and if the singing was a little more variable in quality, there was still much to admire in the ensemble singing as well as in many fine individual performances.

The company executed some well-drilled routines elevated by sharp closing tableaux, such as the Cuban number at the end of Act One.  I particularly liked the way in which dance steps transitioned smoothly into more orthodox movement on stage, and vice versa, with the nature of the movement accurately reflecting the changing mood of the score.  The historical context was also referenced in some of the choreographed scenes, with returning soldiers greeted warmly and suspected collaborators shunned.  However, it was the ballet dancers who really caught the eye, and the troupe moved well together with some particularly graceful arm movements; the best dancers included some en pointe work in their routines.

Settings were largely conjured up through projections onto the back wall and a clever pair of folding legs which could be opened up rather like a book to provide backgrounds to more intimate scenes.  The projections beautifully complemented the drama with their impressionist images of Paris; the scene onstage at the ballet, as seen from the dancers’ perspective, was realised particularly well.  Perspective was also a feature of the legs, with their depictions of furniture reminiscent of Van Gogh: the set may have been simple, but it was remarkably atmospheric and effective.

Staging this musical was a brave decision by Odyssey Theatrical Productions, but the quality of the production and the developmental experience it gave to the performers surely vindicate the company’s choice.  This was an impressive presentation of a complex and engaging work which may be a little away from the mainstream of popular musical theatre, but certainly deserves to be seen more often.

© NODA CIO.  All rights reserved.

© NODA CIO. All rights reserved.