Beneath the elegant puddle iron rivets of Paris’s Eiffel Tower on the River Seine, lies a romantic tale among an array of artists at the end of World War II where tension still resides as recalled by narrator and composer Adam in a multi-layered performance by Jared Troilo.  An American in Paris is an eloquent and classic tale, but its true emotional core in Reagle Music Theatre of Greater Boston’s adaptation lies in Gershwin’s rich lyrics and Rachel Bertone’s sweeping choreography.

With book and lyrics by legendary composers George and Ira Gershwin with Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55^th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.

By the end of An American in Paris’s opening musical montage as people reunite with their loved ones while war tension is still in the air during the stirring number Concerto in F, Bertone’s powerful choreography has unexpectedly brought me to tears. Ranging from delicate to lively to showy to humorous, each superb dance montage expands into a stunning progression of the production while connecting a timeless statement about our world.  Dancers utilize brightly-colored parasols, hats and scarves while Bertone’s choreography flows effortlessly and lightheartedly with each scene.

A love story as well as a ballet within a musical, An American in Paris is a treasure trove of some of Gershwin’s classic tunes including They Can’t Take That Away from Me, But Not for Me, I Got Rhythm, S’Wonderful and Shall We Dance.  In the past, I have been disappointed in the context of how some classic numbers actually apply to a particular musical, but each one of these classic tunes are lively, joyous, stirring and absolutely memorable.  Without giving much away, a particular highlight is watching the cast make some makeshift music during I Got Rhythm.  It’s simple and yet absolutely extraordinary.

Cameron McEachern’s watercolor-inspired sets are portraits in motion highlighted by a scene where detailed gold frames become props and also get swept up in a dance.  Franklin Meissner’s soft yet vibrant multi-colored lighting not only enhances each beautiful skyline but depicts silhouettes, illuminates street lights, and keep the sparkling Seine visibly flowing in the background.  Floral enhancements, Parisian furniture and an integral piano are elegantly swept on and off stage in the fanciful style of the Golden Age of Musicals.  From flowing dresses to glittering gowns to various looks that come right out of the film of the same name, Emerald City Theatricals once again enlivens each landscape with personality and zeal.    

It was a brand new experience watching Reagle Music Theatre of Greater Boston’s An American in Paris having not seen a stage production or the astronomically lauded, 1951 Academy Award-winning film featuring dance dynamos Gene Kelly and Leslie Caron.  However, anyone who knows of Gene Kelly or Leslie Caron’s work is aware that those are big shoes to fill.  Without hesitation though, Jack Mullen as former GI turned artist Jerry Mulligan and Samantha Barnes as promising dancer Lise Dassin are a wonderful pair and fill those shoes with grace, brilliant charm and proficiency.

Jack Mullen as Jerry possesses a bit of Tom Holland charm, glowing charisma and an easy going demeanor which eases the pressures and aspirations that Barnes as Lise often feels to become as skilled a dancer as her lauded ballet dancer mother.  They have endearing and playful chemistry right from Mullen’s teasing number I’ve Got Beginner’s Luck.  Mullen rises to the challenge of the sheer stamina of this role, highlighted by a mischievous jazz-inspired number called Fidgety Feet in an enchanting and rollicking chair dance.

Jared Troilo, a fabulous dancer in his own right, takes on the part of narrator and composer Adam who has a disability and is often observing and composing the beauty in other people’s lives.  It is a meaty role and Troilo’s humble and self-effacing delivery is never more moving than in the sympathetic number, But Not For Me. 

With an amazing belt and unshakable self confidence, Rebekah Rae Robles shines as Milo Davenport, a woman ahead of her time especially for the potent number Shall We Dance.  Carolyn Saxon as Madame Baurel and Jean-Alfred Chavier once again make a sweet pair reuniting as Henri’s parents in this production having portrayed a pair of love interests in Reagle’s All Shook Up.  It took a minute to recognize him, but Christopher Lewis as secretive, anxious yet sophisticated Frenchman Henri also starred in Reagle’s All Shook Up as the Elvis figure Chad.  Lewis again proves his wonderful comic timing and soaring vocals sharing some boisterous camaraderie with Troilo and Mullen for S Wonderful as a trio of inseparable friends, performs a grand and splashy version of (I’ll Build a) Stairway to Paradise, and a lovely rendition of The Man I Love with Barnes.

Boasting an amazingly talented cast, Reagle Music Theatre of Greater Boston’s An American in Paris is elegant, meaningful, and an absolute delight!  Get swept up in this beautiful musical as soon as you can.

With book and lyrics by legendary composers George and Ira Gershwin and Rachel Bertone’s multi-faceted direction and choreography, Reagle Music Theatre saved the best for last in its 55^th summer season with An American in Paris continuing through Sunday, August 18 live and in person at the Robinson Theatre in Waltham, Massachusetts.  This gorgeous production is approximately two hours 30 minutes with a 15 minute intermission.  Click here for more information and for tickets.