Christopher Wheeldon

Gershwin in Paris: S’wonderful

The Broadway tour of "An American in Paris" creates a gorgeous spectacle of song and dance inside Keller Auditorium

“S’wonderful, it’s marvelous,” this Broadway version of An American in Paris, playing at the Keller Auditorium through Sunday.

I thought so when I saw it in New York a year ago, and I still thought so last night, when the national touring company version opened here with a cast that is not as accomplished as the one I saw on Broadway, but nevertheless gave some outstanding and absorbing performances. All the other elements that make this such a wonderful show are, happily, unchanged, except for the orchestra, which is smaller. Christopher Wheeldon’s signature choreography; Bob Crowley’s stylish multimedia sets and costumes, which put you squarely in wartime Paris; and Natasha Katz’s lighting design, giving us both a city of light and one of war-time darkness, remain the same, as does the book by Craig Lucas.

Puttin’ on the ritz: the “American in Paris” company. Photo: Matthew Murphy

These elements come felicitously together in the service of George Gershwin’s music, the jazzy orchestral “American in Paris,” composed in 1928 as an homage to the city of the Lost Generation, as well as songs with lyrics by Ira Gershwin such as “I Got Rhythm,” “S’Wonderful,” and “I’ll Build a Stairway to Paradise,” familiar to the many members of the not-so-young audience who remember the 1951 film on which the show is based.

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Revealed: ballet for the 21st century

OBT's newest program is hampered by a lack of live music, but tells exciting stories of our time

Oregon Ballet Theatre opened its post-Nutcracker season at the Keller Auditorium last weekend with four 21st century story ballets, and despite the absence of live orchestra, the dancers tell the stories very well. No surprise there. With the exception of Christopher Wheeldon’s Liturgy, a pas de deux made originally on New York City Ballet’s Wendy Whelan and Jock Soto, all were created on these particular dancers, most of them anyway, and that shows.

Two of the dances on the program–which is called Reveal, and which repeats Thursday-Saturday, February 27-March 1–are overtly political.  Christopher Stowell’s curtain-raising world premiere A Second Front deals with Joseph Stalin’s persecution of Dimitri Shostakovich. The whispering soundtrack that alternates with excerpts from two of the composer’s suites for dance is also highly suggestive of the eavesdropping by today’s intelligence agencies, and not just ours.

Ye Li in Stowell's "A Second Front." Photo: Blaine Truitt Covert

Ye Li in Stowell’s “A Second Front.” Photo: Blaine Truitt Covert

Like Ekho, the last piece that Stowell made for the company he directed for close to a decade, A Second Front, is for seven couples.  Packed with classical steps, often executed at top speed in intricately designed floor patterns reminiscent of Balanchine’s, it takes place in a ballroom that the skeletal metal chandeliers suggest has seen better days. The women dance in identical silky gray evening gowns, with pleated skirts slit to the waist to reveal their beautiful legs in attitude or arabesque. The men are costumed in dreary gray suits reminiscent of those worn by members of the politburo.  Mark Zappone designed the costumes, and they, with Michael Mazzola’s lights, help to set the oppressive atmosphere of Stalin’s Soviet Union.

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