"The city of light is ablaze with movement in the rhapsodic new stage adaptation of “An American in Paris.” This gorgeously danced — and just plain gorgeous — production pays loving tribute to the 1951 movie, to the marriage of music and movement, and to cherished notions about romance that have been a defining element of the American musical theater practically since its inception. Just about everything in this happily dance-drunk show moves with a spring in its step."
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"There is nothing self-conscious about "An American in Paris." It’s dazzling and noisy in the best sense of an American musical. At the same time it puts a canny, majestic lift beneath the patter and pas de deux, as Paris is redeemed."
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"With its odd combination of dour outlook and joyful movement, and its very tasteful corralling of the giddy Gershwin songs from disparate sources that constitute its score, the show is a Broadway unicorn...The attempt to merge dance storytelling with musical-theater storytelling may not always be satisfying but especially at a time when more conventional musicals aspire to the condition of high-speed sledgehammers, it is a delight to relax into a show with a dreamier pace."
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"This is what musical-comedy dance can look like when it’s made by a choreographer who knows how to do more than just stage a song...Not since “West Side Story” has dance been used to such overwhelming effect on Broadway...“An American in Paris” is in no way for ballet buffs only: It is, first and foremost, an old-fashioned, big-hearted spare-no-expense Broadway romance. That it is also a masterpiece of theatrical dance is sweet icing on an already tasty cake."
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"Visually sumptuous and musically rapturous – and really, what more could you ask for? – the show has so many charms. And yet, "An American In Paris" is fabulous looking but vacant. It’s a dance show that features some wonderful dancing yet never takes flight. It’s lifeless at the center."
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"Guiding his first musical, Wheeldon shows a vibrant vision and buckets of imagination, transforming the 1951 film that inspires the show...“An American in Paris” is at its best whenever it’s in motion, which is often. Occasionally the show stubs its toes on corny jokes and book scenes that could use a bit more finesse, such as Jerry’s clunky wartime reflections. That’s nitpicking — just a bit of minor turbulence during this lighter-than-air ride."
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"If playwright Craig Lucas' book scenes at times seem over-complicated, and some of the songs feel shoehorned in rather than integral to the plot, that's a small price to pay. When the music is this glorious, who's complaining? And perhaps it's inevitable that when the many and varied dance interludes convey such soaring romance, dialogue scenes can sometimes seem an impediment. But an awkward transition or two can't diminish the pleasures of a show that's one long sustained swoon."
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"An airy, gentle caress of a show, “An American in Paris” is a welcome oddity on Broadway. Based on the 1951 movie, this musical stars two classically trained dancers — directed by dancer-turned-choreographer Christopher Wheeldon. What those three bring is often swooningly beautiful...The downside of this elegance is that when the production needs pep and razzmatazz, it’s in short supply...But when those two are onstage, they make you believe in love — and the power of dance — all over again."
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