An American In Paris, GWB Entertainment and The Australian Ballet et al, State Theatre, Arts Centre Melbourne, 18 March-23 April 2022 (Sydney and Perth to follow)

 I must admit I've never seen the 1951 Gene Kelly musical that is noted as the inspiration for this production - however from the sound of it the premise is vaguely familiar - an artistically inclined US Soldier elects not to return home after the war but instead to try his luck as an artist on the streets of Paris, leading to romance, friendship and an awful lot of singing and dancing to Gershwin songs and orchestral piece. 

This version, brought to the stage in 2015 in New york and now touring Australia, pushes a dancy piece even closer to full ballet, with a light slither of plot holding everything together. Director/Choreographer Christopher Wheeldon combines pefromance and staging in a whirling production that provides beauty, style and glamour in a rich cavalcade for the senses. The set design by Bob Crowley uses a combination of small setpieces and styalised projections (by 59 Productions) that capture the art styles of the lead as he attempts to capture Paris on paper. The opening alone, performed to Gershwin's Concerto in F, captures the period and the city, introducing our hero to the town and getting us a quick tour of the world we'll be in for the rest of the show - a town that's just recovering from World War 2 and recovering its soul. 

There's strong performers in the show - imported leads Robbie Fairchild and Leanne Cope bring back memories of Gene Kelly's bullish masculine dancing and Leslie Caron's french gamine style, while locals like Jonathan Hickey as the melencholic composer Adam, Sam Ward as the businessman-who-wants-to-be a cabaret singer, and understudy Rachael Ward as the stylish socialite Milo all pulling their weight admirably. Anne Wood steals scenes as Henri's snippy mother with minimal material, and the ever-active chorus provide strong support.

Craig Lucas's script feels a little stripped to the bone - even at 2 hours 45 minutes, none of the characters really acquire more depth than your initial impressions of them, and it adds up more to an exercise in style than substance. But wow, what a lot of style!