An American in Paris at Haddonfield Plays & Players
by Evan Harris
Allow me to begin this by thanking you for taking the time to read my inaugural review. To blend two of my greatest joys, writing and theatre, is an honor and privilege beyond description. So, if I may once again, thank you! Now, while it may be, at best, a bit untraditional and, at worst, somewhat narcissistic to do this, I do think it is important to give you an idea of who I am as a theatre patron. I am the sort of person who does his best to completely avoid any sort of information about a show until I can sit down in a theater and fully experience it as our Lord and Savior (Dionysus) intended. With that being said, I want to disclose that I knew next to nothing about An American in Paris before I saw it on December 9th at Haddonfield Plays & Players.
An American in Paris, written by Craig Lucas, follows a group of artists navigating life in Paris, France, following the events of World War II, all set to the music of George and Ira Gershwin. Veteran and artist Jerry Mulligan was stationed in France during the war but decided to stay in France rather than return home. He would then befriend fellow American and composer Adam Hochberg, who acts as our narrator. Jerry then meets Lise, an enigmatic ballerina whose life and his own would become entwined. Their story of love and heartbreak shows us how true love can conquer any obstacle, even in uncertain times of personal and cultural transition. This production was directed and choreographed by Brian Rivell. Vocal direction by Allison Rossi and ballet choreography by Jennifer Gordon. All of which under the artistic direction of Chris Miller.
Upon entering the theater, I first noticed the themed Parisian decor in the lobby. In my humble opinion, I do think that theming the lobby/theater is a bit of a tightrope walk. It can be fun and enhance the overall immersion of the experience, but it does not take much for it to become a distraction. It’s a decision that needs to be applied with a delicate touch, or else you risk turning a night at the theatre into something that can feel somewhat insincere or “touristy.” I am happy to report that, in this particular instance, this was not the case. There were paintings and sketches of well-known spots in Paris hung about the lobby, which I soon discovered was a very clever choice. In addition, there was a period-appropriate Army jacket and a French flag hanging above the house entrance. There was also a bicycle with a chef’s hat hanging from its handlebar, which I found a bit humorous in its randomness. Yes, I understand the intention behind it, but I feel the random chef’s hat took the decor away from setting the scene for the show and more in the direction of “How many French things can we fit in here?” I failed to check under the hat to see if there was a rat baking souffle. Luckily, it was just one hat, but this is what I mean when I say that decorating the lobby can be a potentially risky choice.
Despite having nearly no knowledge about An American in Paris, I knew it was a dance-centric musical. Going into this show, I wondered if Haddonfield Plays & Players was an appropriate venue for such a show. It’s no secret that HP&P has a stage that’s on the smaller side. The ballet choreographer, Jennifer Gordon, is the artistic director for Allegory Dance Theatre, which hosts their Illumination Series, a stunning showcase of the incredible dance talent found in the South Jersey/Philly area, at Haddonfield Plays & Players (speaking of, the third Illumination Series will be held at HP&P on February 10th). During those performances, the stage was completely bare and it was just large enough for the dancers to perform in a manner that didn’t seem to restrict them. I worried how adding a full set to the show would impact the performers’ ability to dance and perform.
With all that said, I was blown away by the set. Utterly blown away. Walking into the house instantly transports you to the base of the Eiffel Tower. On stage were the four legs of the world-famous French landmark, but built in such a way that the forced perspective not only gave the actors plenty of room to dance but also created the illusion of a much larger stage. The effect was so convincing I’m not embarrassed to admit that I instinctively looked up to see “the rest” of the tower. The tower was dotted with color-changing lights and between the legs of the tower was a cyclorama bathed in a deep indigo hue. This backdrop was lit with many different colors to set the scene and, more importantly, the mood for those scenes. In addition to the colored backdrops, it was also used to project images upon during certain scenes. For example, it was used to create the illusion of our cast bowing to a much larger (and much more French) audience. But I found it most impressive when it was used during scene transitions. Projected upon the screen were sketches of France being “drawn,” presumably by Jerry Mulligan in real-time. It allows the audience to join Jerry on his journey through falling in love with not just Lise but with France, as well.
I truly loved the lighting in this show. The production took a less literal approach that really serves this show in particular. It’s easy to lose an audience when doing an older show. What audiences enjoyed then is rarely enjoyed today. Take How to Succeed in Business Without Really Trying. That is a show that, if done straight, would probably be considered somewhat problematic. But the 2011 revival featuring Daniel Radcliffe was performed with a heavy layer of irony. This meta-comedic angle is now a crucial aspect of the show. While this production doesn't possess nearly as many problematic themes as the previous example, it does feature some outdated theatrical tropes. The character of Lise, for instance, is treated more as an object of desire and plot advancement for the three male characters rather than a fully three-dimensional character. That said, the character was portrayed beautifully by Monica Matteo. The dreamy, almost fantastical lighting coupled with Matteo’s ethereal interpretation of the character made her moments feel as if they were pulled from a fairy tale. When people talk of the magic of theatre, this is what they’re referring to.
Director and choreographer Brian Rivell clearly understands the “rhythm” a musical should have. Nothing kills a show’s momentum more than a slow, clunky set change. But for An American in Paris, every set change was choreographed and expertly executed by the cast. Most transitions continued from the dance that preceded it. There was never a moment when the show “stopped” so the next scene could be set up. An American in Paris is a show with a relatively long runtime (a little longer than 2.5 hours if Google is to be believed), and while this production was true to that, it never for a moment dragged.
As a performer myself, there are plenty of shows that I am absolutely itching to do one day. An American in Paris is not one of them. And that isn’t to say I have an issue with the show! Not at all. I just know better and stay in my lane. My two left feet would not fare well in a show like this one. So, with that in mind, I have nothing but admiration and respect for the ensemble of this show. Ensemble members include Val Calderone, Audrey DiEnno, Claire Le Gall, Ken Locicero, Riley Newman, Emersyn Rath, Sarah Rodgers, John Salera, Peter White, and Erin Whitescarver. The hard work and dedication that went into this production were incredibly evident throughout. The biggest standout numbers for me were Concerto in F, Fidgety Feet, and I’ll Build a Stairway to Paradise. Concerto in F was certainly no easy feat to pull off. Major kudos to Rivell’s direction and choreography to tell so much story through just the movement of the actors. It was evident in Fidgety Feet and Stairway to Paradise that this ensemble truly loves this show and its choreography. Both were performed very well and the choreography was a delight to watch, but it was the ensemble that took those numbers from great to remarkable. The absolute joy from these talented actors flowed forth throughout the show, but I could probably guess that these were their favorite numbers. Though I must be honest, I was disappointed to see tap choreography for Stairway but no tap shoes. This was my biggest gripe with the show as I wondered, “Where are their tap shoes?” when I should have just enjoyed the routine.
Our leads, Monica Matteo and Matthew Reeve, were exceptional dancers. Every time a scene began that featured just the two of them, I would lean forward in anticipation. It’s not very often you experience truly great dancing, and watching them together was such a treat. The passion these actors could convey through their dancing was just sublime. When they started dancing together, I couldn’t help but put down my pen every time.
CJ Kish and Patrick Waldron put their comedic talents on full display in this performance and were quite successful in this endeavor. Particularly during Stairway to Paradise, where Waldron’s character of Henri fulfilled his dream of performing at Radio City Music Hall (albeit during a fantasy sequence). The banter between these two before, after, and even during the number kept me laughing throughout. Their comedic prowess, however, never detracted from the real emotional weight of their circumstances. They both conveyed the heartbreak and struggle that comes from living and loving during hardship. Their performances remind us that it is vital to find those moments of laughter when things get tough.
I would also like to shout out to Martha Wasser for her portrayal of Milo Davenport. It’s not easy to give a nuanced performance onstage, but Wasser took a character that initially seemed like a caricature and gave her a level of depth that I was surprised to see in Act II. I found Wasser and Kish to be the standout actors in this show.
I’m delighted that there isn’t much for me to criticize, but no production is perfect. The French accent, in my opinion, is perhaps the most difficult to pick up for us Americans. I don’t think anyone in this show had a genuinely exceptional French accent. Fortunately, no one struggled so much that it was distracting or detracted from the show, but I think it would have benefitted from some additional practice. Kudos, though, to Monica Matteo and Joanne Mullin McBride, whose accents I felt were most accurate to the real thing.
I cannot write this review without paying tribute to ballet choreographer Jennifer Gordon. I am engaged to a dancer who specializes in ballet. I know how difficult these styles are. So, to teach this style to actors who, I would imagine, lack the same level of experience as she has was an impressive feat. The ballet was complex yet whimsical, and I couldn’t help but smile as I watched her choreography come to life. Sometimes, I felt our actors could have tightened up the technique, but this was something else that I didn’t find detrimental to the show’s overall success.
Overall, I thoroughly enjoyed this show. I can honestly say I’ve never seen a show quite like this before. This wasn’t just a play with some song and dance. This is what Theatre is meant to be: acting, dancing, music, and tech working together to tell a story that couldn’t be told while missing any one of those elements. The cast and creative team behind An American in Paris at Haddonfield Plays & Players should be proud of themselves. This show was an incredibly bold choice for this theater. If I can be honest, I had my doubts when it was first announced. Plenty of folks can sing, a bit less can act, and even less than that can really dance. And on HP&P’s small stage? No way. How glad I was to be wrong! Félicitations to the cast and production team at Haddonfield Plays & Players on your enchanting production of An American in Paris! An American in Paris runs through Saturday, December 16th. Tickets can be purchased here: https://haddonfieldplaysandplayers.csstix.com/event-details.php?e=479
