That's Show Business . . .

We recently had visitors from Belgium -- George's cousin, Freddy, and his partner, Jan -- in town.  Although they hadn't been in New York City since 2010, they have been frequent visitors to the city since 1970 and know their way around.  While they were here they saw four Broadway musicals -- 'Kinky Boots', 'An American in Paris', 'Aladdin', and 'The King and I'.  We joined them for 'American in Paris' and 'King and I'.

'An American in Paris':

This show is loosely based on the classic 1951 Vincente Minnelli movie starring Gene Kelly and Leslie Caron.  'An American in Paris' has music and lyrics by George and Ira Gershwin, a book by Craig Lucas, direction and choreography by Christopher Wheeldon, and stars Robert Fairchild and Leanne Cope.

Poster for 'An American in Paris: A New Musical'

Wheeldon has, of course, been attracted to Gershwin's 'An American in Paris' ballet score before.  In 2005, he created a 21-minute ballet based the movie's story for New York City Ballet -- with Damian Woetzel, Jenifer Ringer, and Karla Corbes in the leading roles.  The 2005 ballet has since been mounted for several other ballet companies around the world.  Wheeldon is also well aware of George Balanchine's 'Who Cares?' which utilizes many of the same Gershwin tunes as his new musical.  Wheeldon danced one of the demi-soloist roles in the 1990's when he was a soloist with New York City Ballet and Robert Fairchild has had notable success in its leading male role. As a result, Wheeldon's staging and choreography for this show has a deja-vu-all-over-again quality.

Robert Fairchild -- a New York City Ballet principal dancer -- is sensational as Jerry -- even when much of his dancing consists of dodging constantly moving pieces of the set which often crowd the stage space.  Robbie is a surprisingly good singer and a gifted actor.

Leanne Cope -- a Royal Ballet first artist -- seems to have been chosen primarily for her resemblance to the movie's Leslie Caron.  As Lise, the love interest of Jerry and two other characters, she lacks Caron's gamin charm and the charisma needed as the focal point of the love quadrangle at the center of the story.  Her dancing is merely adequate and her acting and singing are pallid. 

Wheeldon's expressionistic staging of the opening scene showing the devastation of Paris at the end of World War II is wonderfully evocative of the disorientation and deprivation the Germans left behind.  Between that terrific beginning and the climactic 'American in Paris' ballet there are long stretches of barely watchable exposition; great Gershwin songs wedged into the flimsy, poorly defined plot; and inane dance sequences -- like 'Fidgety Feet'.  Unfortunately, the supposedly 'cinematic' use of roving pieces of the set distracts from the convoluted plot and shrinks the space needed for dancing.

Fortunately, the stage is cleared for the 'American in Paris' ballet which gives Wheeldon the opportunity to showcase Fairchild's expansive, bravura dancing and gives Ms. Cope a shot at redeeming her otherwise small-scaled performance.  It's Robbie's show from start to finish, but his stellar performance is repeatedly undermined by Wheeldon's busy staging, by Lucas' incoherent plot, and by the vacuum where the leading lady should be.

'The King and I':

Lincoln Center Theater's revival of Rodgers and Hammerstein's 'The King and I' at the Vivian Beaumont Theater is sumptuous and heart-rending.

Poster for the Lincoln Center Theater revival of 'The King and I' at the Vivian Beaumont Theater.

 
The show is anchored by a luminous performance from Kelli O'Hara as Anna Leonowens -- the Welsh army widow hired to teach the many children of the King of Siam.  With her elegant diction and immaculate phrasing Ms. O'Hara breathes fresh life and meaning into classic Rodgers & Hammerstein songs -- including 'Whistle a Happy Tune', 'Getting to Know You', 'Hello, Young Lovers', and 'Shall We Dance' --adding great emotional depth to the show.
   

Kelli O'Hara and Jose Llana as Anna and the King in Lincoln Center Theater's 'The King and I'

Jose Llana, who replaced Ken Watanabe in mid-July, plays the conflicted King -- coping with threats from Asian enemies and European empire builders while maintaining his authority over Siam -- with both nuance and swagger.  As with any major role replacement, the entire cast was especially attentive to Mr. Llana's performance as the King -- giving the whole show an extra jolt of electricity.
   

Ruthie Ann Miles as Lady Thiang with Kelli O'Hara as Anna in 'The King and I'

Ruthie Ann Miles plays Lady Thiang -- the King's head wife (his Queen has died four years before the show begins) -- with dignity and compelling empathy.  Her singing of 'Something Wonderful' and its many reprises are among the emotional highlights of the show.

The sets by Michael Yeargan make use of the entire Beaumont stage with its enormous depth, width and height.  Golden pillars glide about modifying the playing space from grand to intimate to fit the scale of each scene.  The costumes by Catherine Zuber are sumptuous and exotic. 

The Rodgers & Hammerstein score -- richly rewarding for its insightful lyrics as well as its soaring, haunting melodies -- was played with great style by a large pit orchestra.  The famous ballet by Jerome Robbins, 'The Little House of Uncle Thomas', was respectfully refreshed for this production by Christopher Gattelli, whose understated choreography elsewhere blended nicely into the production.

I felt that there were casting missteps with Tuptim and Lun Tha -- the 'young lovers' forced to 'kiss in the shadows' -- and the Crown Prince -- who has the last important speech of the show.  But Bartlett Sher has pulled together a remarkable, coherent and insightful production centered on the three extraordinary lead performances.

*  *  *  *  *  *  *  *  *  *  *  *

We agreed with our Belgian visitors that 'The King and I' was the best show we saw during their visit -- and like us, they felt that 'An American in Paris' was the most disappointing.  They liked 'Kinky Boots' -- and loved Disney's 'Aladdin'.