DANCE EDUCATION PACK
PRODUCTION ELEMENTS & CREATIVE DECISION
01
USING THIS RESOURCE PACK
This pack aims to give Dance teachers and students further understanding of An American in Paris. It includes
materials and information about the production that can be used as a stimulus for discussion and practical activities.
•
This pack is aimed to support students who are studying a range of practitioner’s work, developing critical analysis
skills and studying the constituent features of dance.
•
The resources are aimed at students from Key Stage 3+ who are studying courses in Dance at secondary level
through to BTEC Level 3 in Performing Arts. The contextual and background information will also be useful for
Higher Education students of Dance and Performing Arts.
•
These resources have been built through conversations with secondary Dance and BTEC Performing Arts teachers
and reference the GCSE and A-Level AQA specifications for 2016 teaching.
SPECIFIC CURRICULUM RELEVANCE
BTEC Performing Arts - Level 3
•
Specific mandatory units:
»Unit
»
1: Investigating Practitioners’ Work
»Unit
»
2: Developing Skills and Techniques for Live Performance
»Unit
»
7: 7 Employment Opportunities in the Performing Arts
•
Examples of other optional units:
»Unit
»
8: Classical Ballet Technique
»Unit
»
13: Healthy Dancer
»Unit
»
14: Choreography for a live performance
»Unit
»
27: Musical Theatre Techniques
Questions, discussion points, further reading and activities are provided in blue boxes.
Use these to challenge and apply understanding.
The symbols below are used throughout the pack to highlight any activities, ideas for discussion, or worksheets.
TEACHER
INFORMATION
DESCRIBE
& EXPLAIN
STUDENT WORKSHEET
OR
INFORMATION SHEET
At the top right hand corner of every page, there is an indication of which levels the page is relevant to, in bold.
A range of supporting videos can be found on the An American In Paris UK Education YouTube channel:
https://www.youtube.com/channel/UCDSgPmXMTx8rDO62L7GSQmw
HOW TO USE THIS PACK 02
CONTENTS
Section 1: An introduction to An American in Paris
»Introduction
»
Page 04
»History
»
of the show
Page 05
»Structure:
»
scene outline Page 07 »Creative
»
team and cast
Page 08
»Production
»
elements worksheet
Page 09
Section 2: Dance in An American in Paris
»Introduction
»
Page 11
»Profile
»
of Christopher Wheeldon: Choreographer/Director
Page 12
»Dance
»
and cultural influences
Page 13
»Dance
»
styles and genres: synopsis and scene by scene
Page 14
»Post-show
»
activity: contrasting dances
Page 19
Section 3: Activities
»Choreographic
»
Tasks 1-4
Page 20
»Lesson
»
plan: dance as storytelling
Page 21
Section 4: Reflecting on and reviewing dance in An American in Paris
»Review
»
questions and analysis
Page 22
»Essay
»
questions
Page 25
Section 5: Production and rehearsal photos, set and costume designs
»Costumes
»
Page 26
»Set
» Models
Page 31
»Rehearsal
»
Shots
Page 34
»Production
»
Photos
Page 35
Credits
»Credits
»
Page 36
CONTENTS 03
KS3 KS4 KS5 BTEC HE TEACHER
SECTION 1: AN INTRODUCTION TO
AN AMERICAN IN PARIS
INTRODUCTION
Jerry Mulligan is an American GI striving to make it as a painter in a city suddenly bursting with hope and possibility.
Following a chance encounter with a beautiful young dancer named Lise, the streets of Paris become the backdrop to a
sensuous, modern romance of art, friendship and love in the aftermath of war...
The reimagining of the Oscar® winning film, An American in Paris, started its journey as a new musical in Paris before
opening on Broadway, and now plays in London’s West End at the Dominion Theatre.
With the musical score and lyrics arranged by the proficient Gershwin brothers, it features many of George and Ira’s
popular and timeless songs. The music pulls from their entire, combined musical repertoire, including I Got Rhythm,
'S Wonderful and They Can’t Take That Away From Me, making it even more of a unique production.
Performed by a company of 50 actors, dancers and musicians and directed and choreographed by Olivier® and
Tony® Award-winner Christopher Wheeldon, this celebrated production played a sold out, world premiere engagement
at the Théâtre du Châtelet in Paris before transferring triumphantly to Broadway, where it became the most awarded
musical of the year.
View the official trailer here: https://www.youtube.com/watch?v= 1wt8tLjkI4w
ABOUT OUR EDUCATION PROGRAMME
Introduce your students to the unforgettable world of An American in Paris, the acclaimed stage musical created by some
of the most celebrated theatre-makers in the world. The production explores the themes of love, loss, friendship and the
healing power of art, music, and dance as the ‘City of Light’ emerges from four years of Nazi occupation.
Original Broadway Production photography by Angela Sterling.
AN INTRODUCTION TO AN AMERICAN IN PARIS 04
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HISTORY OF THE SHOW
1920s
George Gershwin’s Tone Poem
1950s
MGM Motion Picture
In 1928, the American composer George Gershwin wrote An American in Paris, a symphonic tone
poem for orchestra, which became one of his most well known compositions. Back in New York it
premiered at Carnegie Hall, with Walter Damrosch conducting the New York Symphony Society
Orchestra.
The idea for An American in Paris came to producer Arthur Freed when he attended a concert of
George Gershwin’s An American in Paris. Freed liked the title and from that he built a musical with
Gershwin tunes after months of negotiations with Ira Gershwin, estate trustees and two different
music publishers.
Further developed by the artistic triumvirate of choreographer and star Gene Kelly, director
Vincente Minelli and screenwriter Alan J. Lerner, An American in Paris became one of the most
famous film musicals in the history of Hollywood and went on to win six Academy Awards® in 1951.
In approaching the film’s choreographic sequences, Kelly took the opportunity to make cinematic
choices that broke new ground, including the legendary 17 minute final ballet sequence. This was set
to an adaptation of George Gershwin’s original tone poem. He also discovered co-star Leslie Caron
after seeing her in Paris’ Ballet des Champs-Élysées.
1951 trailer: https://www.youtube.com/watch?v=o2WAMZRCbpU
Gene Kelly biography:
http://www.pbs.org/wnet/americanmasters/gene-kelly-anatomy-of-a-dancer/516/
BBC radio recording. An American in Paris - Timecode: 06:55:
https://www.youtube.com/watch?v=o2WAMZRCbpU
2005
Christopher Wheeldon’s New York City Ballet
2013 PRESENT
DAY
Ballet on Broadway
The musical’s director and choreographer, Christopher Wheeldon, Resident Choreographer
and First Resident Artist of the New York City Ballet (NYCB), previously created a ballet set
to the Gershwin score, for the NYCB. The cast of 31 included beatniks, fashion models, tourists,
schoolgirls and even a Tour de France bicyclist in a yellow jersey. Set design included backdrops
inspired by Picasso and Braque giving a Cubist perspective of the city. The ballet was 21 minutes
in duration and premiered on May 4, 2005 at the New York State Theatre.
The estates of the Gershwin brothers wanted to develop a stage musical of An American in Paris
and approached the producers Stuart Oken and Van Kaplan. They then joined forces with Jean-Luc
Choplin, of Paris’ Théàtre du Châtelet, who was also seeking the rights to the stage adaptation.
Craig Lucas wrote the book for the musical, adapting Alan J. Lerner’s original screenplay for the
1951 film. He played with the narrative, moving the time period setting from the early 1950s to
1945, directly after the war had ended and Paris had just been liberated. The characters were also
developed further, altering their backstories to give different motivations and contexts.
HISTORY OF THE SHOW 05
KS3 KS4 KS5 BTEC HE TEACHER
Christopher Wheeldon came on board after being contacted by producer Stuart Oken. The
production team wanted a ‘united vision’ to connect the directing and choreography, because there
was so much dance in the show. Using dance as a primary storytelling tool was a priority for the
production and so after six weeks of workshops, Wheeldon joined the creative team as both director
and choreographer.
The producers were also given full access to look through the entire Gershwin catalogue from the
estate and were able to flavour the new narrative with both Ira and George Gershwin’s compositions.
On 22nd November 2014, the world premiere of An American in Paris opened at the Théâtre du
Châtelet and ran until 4th January 2015. The Broadway premiere opened at the Palace Theater
March 13, 2015 and transfers to the West End in March 2017.
Craig Lucas interview:
http://www.theatermania.com/broadway/news/craig-lucas-an-american-in-parisinterview_72305.html
Stuart Oken and Christopher Wheeldon speak about how the musical came to life:
http://www.thegreenespace.org/story/-demand-video-wqxr-presents-american-paris-preview/
Timecode: 10:00
Original Broadway Production photography by Angela Sterling.
HISTORY OF THE SHOW 06
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STRUCTURE: SCENE OUTLINE
ACT ONE
SCENE
LOCATION
MUSIC
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
1.10
1.10 (a)
1.10 (b)
1.10 (c)
1.10 (d)
1.10 (e)
Paris
Dutois’ Café
Ballet du Châtelet
Galeries Lafayette
Baurel Manse, Quiet Café (Letters)
Along the Seine
Baurel Manse
Dutois’ Café, Paris Streets, Jerry’s Room
The Ritz
Paris
Gallery Opening, same night
Along the Seine, next afternoon
Ballet Studio
Nightclub, later that evening
3 locations at once: Dutois’ Café,
Ballet Studio, the Ritz
Along the Seine
Bal des Beaux Arts
Concerto In F - Orchestra
I Got Rhythm - Henri, Adam, Jerry, Company
Second Prelude - Orchestra
Beginner’s Luck - Jerry
The Man I Love - Lise
Liza - Jerry
LOCATION
MUSIC
Prologue
1.10 (f)
1.10 (g)
‘S Wonderful - Adam, Henri, Jerry, Company
Shall We Dance? - Milo
Second Rhapsody ballet & Cuban Overture - Orchestra
Second Rhapsody ballet & Cuban Overture - Orchestra
Second Rhapsody ballet & Cuban Overture - Orchestra
Second Rhapsody ballet & Cuban Overture - Orchestra
Second Rhapsody ballet & Cuban Overture - Orchestra
Second Rhapsody ballet & Cuban Overture - Orchestra
Second Rhapsody ballet & Cuban Overture - Orchestra
Second Rhapsody ballet & Cuban Overture - Orchestra
ACT TWO
SCENE
2.1
2.2
2.2 (a)
2.2 (b)
2.2 (c)
2.3
2.3 (a)
2.3 (b)
2.4
2.4 (a)
2.4 (b)
2.4 (c)
2.5
Baurel Manse, evening
Three Locations At Once:
Baurel Manse
The Ritz
The Dutois’ Café
Montmartre Cabaret, evening
Dressing Room, Backstage
Front of House, Montmartre Cabaret
Ballet du Châtelet
Lise’s Dressing Room
Onstage - ballet performed
After show party
The Seine
For Lily Pons and Fidgety Feet - Jerry
Who Cares? - Milo, Adam, Henri
For You, For Me, For Evermore - Lise, Henri, Jerry, Milo
But Not For Me medley - Adam and Milo
I’ll Build A Stairway To Paradise - Henri, Adam, Company
An American in Paris ballet - Orchestra
They Can’t Take That Away From Me - Adam, Jerry, Henri
They Can’t Take That Away From Me - Adam, Jerry, Henri
SCENE OUTLINE 07
KS4 KS5 BTEC HE TEACHER
CREATIVE TEAM
GEORGE
GERSHWIN
IRA
GERSHWIN
COMPOSER
LYRICIST
CRAIG
LUCAS
CHRISTOPHER
WHEELDON
ROB
FISHER
BOOK
DIRECTOR & CHOREOGRAPHER
MUSICAL SCORE ADAPTATION
BOB
CROWLEY
NATASHA
KATZ
JON
WESTON
59
PRODUCTIONS
SET & COSTUME DESIGN
LIGHTING DESIGN
SOUND DESIGN
PROJECTION DESIGN
TODD
ELLISON
JOHN
RIGBY
ANDY
BARNWELL
JONATHAN
O’BOYLE
MUSICAL SUPERVISOR
MUSICAL DIRECTOR
ORCHESTRA MANAGER
RESIDENT DIRECTOR
CHRISTOPHER
AUSTIN
BILL
ELLIOT
DON
SEBESKY
SAM
DAVIS
ORCHESTRATOR
ADDITIONAL ORCHESTRATIONS
ADDITIONAL ORCHESTRATIONS
DANCE ARRANGER
DONTEE
KIEHN
JACQUELIN
BARRETT
RICK
STEIGER
EMMA
HARRIS
ASSOCIATE
DIRECTOR/CHOREOGRAPHER
ASSOCIATE
DIRECTOR/CHOREOGRAPHER
PRODUCTION SUPERVISOR
RESIDENT DANCE SUPERVISOR
JAMES
ORANGE
UK CASTING DIRECTOR
PATRICK
MOLONY
PLAYFUL
PRODUCTIONS
STUART
OKEN
PRODUCTION MANAGER
GENERAL MANAGER
PRODUCER
VAN
KAPLAN
ROY
FURMAN
MICHAEL
McCABE
JOSHUA
ANDREWS
PRODUCER
PRODUCER
PRODUCER
PRODUCER
UK PREMIERE CAST
ROBERT
FAIRCHILD
LEANNE
COPE
JERRY MULLIGAN
LISE DASSIN
JANE
ASHER
HAYDN
OAKLEY
ZOË
RAINEY
MADAME BAUREL
HENRI BAUREL
MILO DAVENPORT
DAVID
SEADON-YOUNG
ASHLEY
DAY
ADAM HOCHBERG
ALTERNATE
JERRY MULLIGAN
For an up to date list of cast and creatives please refer to:
https://www.anamericaninparisthemusical.co.uk/cast-creatives
CAST AND CREATIVE 08
KS3 KS4 KS5 BTEC HE TEACHER
PRODUCTION ELEMENTS WORKSHEET
Use this worksheet to explore and examine the set, costume, and lighting designs for this production.
SET:
Act 1: Parisian street scene
Describe the set and how it portrays the chosen location of Paris. How is perspective used and why?
CONTRASTING SETS:
Act 2: The Ballet: curtain call Act 2: Stairway to Paradise
Describe how colours are used to effect in these contrasting set designs. How might they contribute to the mood
and atmosphere of a scene.
PRODUCTION ELEMENTS WORKSHEET 09
KS3 KS4 KS5 BTEC HE TEACHER
LIGHTING:
Act 1: Banks of the River Seine
Act 2: The Ballet: final moment
Describe the lighting in these two scenes. Think about colour, shadow and how you would use projection here.
COSTUME:
Act 1: Prologue-Parisian people on streets Act 2: An American in Paris Ballet
Look at these contrasting costumes. Describe how they add to the performance environment and explain why they
may have been chosen for these particular scenes.
EXTENSION OR HOMEWORK TASK
Choose four images from the production element designs at the end of this pack. Describe the
performance environment (set, costume, lighting) and how this will affect the dancers’ movement.
PRODUCTION ELEMENTS WORKSHEET
10
KS3 KS4 KS5 BTEC HE TEACHER
SECTION 2: DANCE IN
AN AMERICAN IN PARIS
INTRODUCTION
An American in Paris uses a huge range of dance styles as a
way of storytelling.
When people think about musical theatre, they often
consider three main elements: singing, acting and dancing.
The origins of modern musical theatre go back to the 19th
century. Since the inception of “the musical,” shows have
evolved but you can still see some of the fundamentals of
Gilbert and Sullivan’s hugely successful operettas of the
late 1800s in contemporary shows and on stages all over
the world today.
The video features Christopher Wheeldon’s Alice’s
Adventure’s in Wonderland.
https://www.youtube.com/watch?v=CbEiSmxaDhQ
The Royal Opera House also introduce a glossary of
classical ballet here:
https://www.youtube.com/
playlist?list=PL7E40E6E2DAB561B5
An American in Paris uses all three elements, but perhaps
the most notable aspect of the show is the classical ballet
that appears onstage. Throughout the show, dance serves
as a way to communicate emotions as well as to advance
the plot and to move sets on and off the stage. Due to the
show’s very physical nature, the casting process had to
include highly trained ballet dancers.
To begin exploring dance in An American in Paris further,
watch this clip from The Royal Ballet which introduces
their varied season from 2014-15, and how contemporary
dancers work with a classical company.
WHAT TO CONSIDER WHEN DESCRIBING CLASSICAL BALLET
Gender roles: Often in romantic, classical ballet, women
are often the focal point and men are there to assist the
women in lifts and turns. Women had to be feminine to
play the roles while men were masculine. As dance has
evolved, these stereotypes are changing.
En pointe: Pointe technique is the part of classical
ballet technique that concerns pointe work, in which a
ballet dancer supports all body weight on the tips of fully
extended feet within pointe shoes.
Codified positions of feet and arms: A framework of
positions and movements.
Turnout: completing movements with legs rotated
outwards
Defies gravity: Many lifts, turns, and movements ‘out of
the floor’.
Alignment and upright: Keeping the head and shoulders
upright and in line.
Use this link to look at a diagram of typical classical ballet positions and techniques:
https://s-media-cache-ak0.pinimg.com/originals/10/99/ca/1099ca1b38cf997e3ba8ec1af737f7c6.jpg
DANCE IN AN AMERICAN IN PARIS
11
KS3 KS4 KS5 BTEC HE TEACHER
PROFILE OF
CHRISTOPHER WHEELDON:
CHOREOGRAPHER/DIRECTOR
BIOGRAPHY AND CAREER
Wheeldon was born in Yeovil and trained at The Royal
Ballet School, joining the The Royal Ballet in 1991. He
joined New York City Ballet in 1993 and was promoted to
Soloist in 1998. He served as NYCB’s first-ever Artist
in Residence in 2000/01 and was named NYCB’s first
Resident Choreographer in July 2001.
Wheeldon has created productions for all the world’s
major ballet companies and won the Tony® Award for Best
Choreography and was nominated for Best Direction of a
Musical for An American In Paris. He one of today’s most
celebrated ballet choreographers.
Jerome Robbins is Wheeldon’s all-time favourite
choreographer.
Useful clips on Christopher Wheeldon and An
American in Paris:
An American in Paris on Broadway - Spotlight on
Christopher Wheeldon:
https://www.youtube.com/watch?v=gXvX9ebyHwc
He also won the Tony® Award for Best Choreography.
Watch his acceptance speech here and his tribute
to dance: https://www.youtube.com/watch?v=_
FiX98Nsxx
A longer interview of the creative processes
Wheeldon’s adopted, as well as the rehearsal and
casting period can be found here: https://www.
youtube.com/watch?v=0kNDhOFrCew
•
Wheeldon’s cultural and dance influences as a
dancer. T/C: 10:00
Christopher Wheeldon’s creative process:
https://www.youtube.com/watch?v=rjI9nqxiSI4
Previous work:
NYC Ballet:
https://www.youtube.com/watch?v=l3i4Q23X5_k
Wheeldon rehearses dancers of The Royal Ballet in his
new ballet, Aeternum:
https://www.youtube.com/watch?v=sgthYy5AJls
Christopher Wheeldon rehearses Alice's Adventures in
Wonderland with The Royal Ballet:
https://www.youtube.com/watch?v=8hud8u5Kp7w
Filmed insights:
Talks at Google:
https://www.youtube.com/watch?v=7-julcrwxSw
• Language of ballet. T/C: 21:33, 22:57
• Challenges of ballet. T/C: 46:45
CHRISTOPHER WHEELDON
12
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DANCE AND CULTURAL INFLUENCES
ACTIVITY
Christopher Wheeldon’s career spent in New York was heavily influenced by Jerome Robbins. Use the below clips to
explore how Robbins and other great American choreographer’s style may have impacted on Wheeldon’s technique and
style for this production, as well as looking at Wheeldon’s own previous work on other productions.
Agnes de Mille, 1940s and 1950s:
https://www.youtube.com/watch?v=iW35nQUZdk4
Jerome Robbins, 1950s and 1960s:
https://www.youtube.com/watch?v=bxoC5Oyf_ss
https://www.nycballet.com/Explore/Our-History/Jerome-Robbins.aspx
Bob Fosse, 1960s and 1970s:
https://www.youtube.com/watch?v=7uIPkwCYxKU
Susan Stroman, 21st Century:
https://www.youtube.com/watch?v=Cttf_IN5jkQ
Christopher Wheeldon:
https://www.youtube.com/watch?v=gXvX9ebyHwc
Note: also watch the other videos featured on Christopher Wheeldon’s profile page earlier in this resource pack.
Use the table below to record your observations about each choreographer’s work. If exploring in school, split
the class into groups and give each a choreographer to explore and analyse together. You could also chart your
observations on the below worksheet.
CHOREOGRAPHER
SIGNATURE ELEMENTS OF THEIR CHOREOGRAPHY
Agnes de Mille
Jerome Robbins
Bob Fosse
Susan Stroman
Christopher Wheeldon
DANCE AND CULTURAL INFLUENCES
13
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DANCE STYLES AND GENRES:
SYNOPSIS AND SCENE BY SCENE
BREAKDOWN
Use this breakdown to explore the narrative of the production, and also review some of the dance style in the scenes.
We have highlighted some key styles but there are many more referenced in Christopher Wheeldon’s choreography.
ACT ONE
1. Prologue.
Adam an American GI, sets the scene in Paris and introduces the City of Light after the Second World War.
1.1 Paris.
Paris comes to life after its liberation from the Nazis. Jerry Milligan, an American GI and aspiring artist, decides
whether her should stay in the city or leave for home. Amidst the celebrations, turmoil and excitement of the city
emerging, Jerry catches glimpse of Lise, a local girl, and is captivated by her beauty.
• Music: Concerto in F
• Dance styles explored:
»» Contemporary dance: falling and rolling, using the floor
»» Argentine Tango: ronde de jambe à terre
»» Ballet: pirouettes and pointed feet
1.2 Dutois’ Café
After missing his train, Jerry ends up in Dutois’ Café, introducing himself to the owner and fellow American,
Adam. They are joined by Parisian Henri Baurel, an aspiring singer and dancer. Henri tells Adam and Jerry about
his aspirations to perform, as well as his desires to marry the girl he loves. The three men strike up an instant
friendship.
• Music: I Got Rhythm
• Dance styles explored:
»» Ballroom: partner work
»» Contemporary dance: hitch kick
»» Jive: lower leg kicks in partnered section
1.3 Ballet du Châtelet
Adam invites Jerry to sketch the dancers as they audition at the Ballet du Châtelet, where he accompanies the
dancers. Adam meets Milo Davenport , a wealthy gallery owner and arts philanthropist. Adam sketches the
dancers as a latecomer rushes in to join the auditions - it is Lise.
• Music: Second Prelude
• Dance styles explored:
»» Ballet: pliés, and tendus during warm up section
»» Ballet: port de bras, piqué turns and arabesque turns/pirouettes
»» Contemporary dance: turn in legs on Lise as she walks forward
SYNOPSIS AND SCENE BY SCENE BREAKDOWN
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KS3 KS4 KS5 BTEC HE TEACHER
1.4 Galeries Lafayette
Lise arrives at her day job at the department store Galeries Lafayette. Jerry pays her a visit and ends up causing chaos on the
shopfloor. Madame Baurel tells Lise the good news that she is to be hired as the principal dancer at the Ballet du Châtelet.
• Music: Beginner’s Luck
• Dance styles explored:
»» Tap dance
»» Shuffle-ball-change: Jerry
»» Ballet: men, a tour
»» Jazz dance: turned in pirouette
1.5 Baurel Manse, Quiet Café (Letters)
Madame Baurel shares the good news about Lise with her son, Henri. She also urges him to propose to Lise before it’s
too late. Henri writes to Lise to declare his love and proposal. Lise writes to her mother to tell her about her new job and
her doubts about marrying Henri.
• Music: The Man I Love
• Dance styles explored:
»» Contemporary/jazz: using layouts in scene changes
1.6 Along the Seine
Lise and Jerry meet on the banks of the Seine on Lise’s way home. Jerry shows her the sketch he has drawn of her and
tries to befriend her further. Lise is reluctant but starts to fall for his charm.
• Music: Liza
• Dance styles explored:
»» Ballroom style lifts
»» Pas de deux
»» Ballet: Lise does Chainé turns
1.7 Baurel Manse
Lise meets the Baurels and Henri at their house. Henri is left to propose to Lise but finds it difficult to express himself.
1.8 Dutois’ Café, Paris Streets, Jerry’s Room
Jerry, Adam and Henri reflect on the events of the past few days. They discuss Henri’s confusing proposal to Lise.
• Music: 'S Wonderful
• Dance styles explored:
»» Ballet: arabesques
»» Chorus and ensemble pieces along with pas de deux
»» Ballroom style lifts
1.9 The Ritz
Jerry visits Milo to show her his recent picture. Milo informs Jerry that she has enquired if he can design the ballet. She also
invites him to the Bal des Beaux Arts, the annual costume ball. She takes his hand and they walk out into the night together.
• Music: Second Rhapsody ballet & Cuban Overture
• Dance styles explored:
»» Ballroom: rise and fall in partnered dancing
»» Tap dance
1.10 Paris (Second Rhapsody Ballet)
• Music: Second Rhapsody ballet throughout scenes a-g
SYNOPSIS AND SCENE BY SCENE BREAKDOWN
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KS3 KS4 KS5 BTEC HE TEACHER
1.10 (a) Gallery Opening, same night
Milo’s gallery opening. Milo introduces Jerry to Parisian high society.
• Dance styles explored during scene 1.10 (a-f):
»» Pas de deux: 50’s/60’s feel to some arm movements
»» Can-can/showgirl style high kicks
»» Some movements and sounds reminiscent of the modern Chicago musical choreography
»» Jazz: jeté turned out with knee up and arms stretched up and to the side
1.10 (b) Along the Seine, next afternoon
Jerry sketches Lise on page after page. They get closer, enjoying each others’ company and frolicking like teenagers.
When he makes a move, Lise runs off to rehearsal, deflecting his growing ardor.
• Dance styles explored:
»» See 1.10 (a)
1.10 (c) Ballet Studio
Adam accompanies Lise as she dances. She loves his music, and he basks in her praise. She comments on his markedlyimproved appearance; new haircut, new clothes. Adam is inspired by Lise’s whole being; her dancing, the feeling in the
room, everything happening to him. Jerry arrives with his new sketches for the ballet. He and Lise pretend not to know
each other. Mr. Z takes a look at Jerry’s sketch for the design, hates what he sees and tears up the sketch. Jerry leaves
defeated. Milo picks up the pieces of the sketches, rearranges them, and chases after Jerry.
• Dance styles explored:
»» See 1.10 (a)
1.10 (d) Nightclub, later that evening
Jerry is drowning his sorrows. Milo arrives with his design rearranged. He perks up, inspired by the shapes of the cabaret
dancers. He leaves Milo and rushes home to paint.
• Dance styles explored:
»» See 1.10 (a)
1.10 (e) Three locations at once: Dutois’ Café, Ballet Studio, the Ritz
Henri is alive, living as his true self. Adam’s mind is elsewhere, thinking about Lise & Mr. Z rehearsing. Jerry is furiously
sketching, watched over by Milo. Jerry is completely entranced, and watching this excites Milo. In the ballet rehearsal,
Lise is unable to successfully execute a lift Mr. Z has choreographed. He asks another female dancer to demonstrate, and
she does it perfectly. Lise is humiliated and Adam tries to console her.
• Dance styles explored:
»» See 1.10 (a)
1.10 (f) Along the Seine, sunset
Along the Seine, Lise races to Jerry for comfort. Their love duet ends in a kiss, but Lise stops it from continuing. Jerry is
left alone, dancing his frustration out as he heads off to the Bal des Beaux Arts.
• Dance styles explored:
»» See 1.10 (a)
1.10 (g) Bal des Beaux Arts: the costume ball
Milo and Jerry attend the Bal des Beaux Arts together, unaware that Henri and Lise are there as well. Of course, Lise
and Jerry are drawn to each other, but Jerry is not the only man who notices Lise. Other men are pulled in around her
by her allure, and she gets whisked up in a dance frenzy and lifted high into the air, reminiscent of her lift in the ballet.
Following this, Lise and Henri run out of the masquerade and off into the night. Frustrated, Jerry finds Milo. He rips off
his own mask, rips hers off, then kisses her.
• Dance styles explored:
»» Jive-during lift shown in relief, backlit up stage, centre
»» Slight Samba, Salsa fusion
SYNOPSIS AND SCENE BY SCENE BREAKDOWN
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ACT TWO
2.1 Baurel Manse, evening
The Baurels hold a party for the board of the ballet, hosted by Milo. Adam, Lise, Jerry and Henri all attend, unaware that
the others will be there. Adam nearly confesses his love for Lise and Henri is desperately trying to cover his nightclub
singing experience from his parents. Jerry unsubtly avoids being close to Milo once he realises Lise is there. Madame
Baurel uses the opportunity to announce Lise and Henri’s marriage. Jerry is distraught but cannot show it. Lise sees Jerry
and Milo kiss and walks off from Henri, distracted. Jerry chases after her, leaving Milo to dance with Henri.
Jerry and Lise meet on the terrace at moonlight. As he confronts her, Milo, Henri and Adam watch through ballroom
windows. Jerry confesses his love for Lise, and eventually she admits it back to him.
• Music: For Lily Pons and Fidgety Feet
• Dance styles explored:
»» Ballet: comical staging, upstage centre, reminiscent of Balanchine's “Apollo”
»» Argentine tango: chair dance with attitude high kicks and tracing the floor with one foot (ronde de jambe
à terre)
»» Charleston: steps - inverted needs and swivel steps
»» A Waltz type dance as Mile and Henri leave dancing
2.2 Three Locations At Once: Baurel Manse, Ritz, Dutois’ Café
• Music: Who Cares?, For You, For Me, For Evermore and But Not For Me Medley - throughout scenes a-c
2.2 (a) Baurel Manse
Lise and Henri talk about what Henri has heard earlier in the night between Lise and Jerry.
2.2 (b) The Ritz
Milo and Jerry talk about what Milo has heard earlier in the night between Lise and Jerry. Jerry is honest with Milo and
says she deserves someone who loves her equally.
2.2 (c) The Dutois’ Café
Adam and Milo sing But Not For Me Medley, wallowing in unrequited love.
2.3 Montmartre Cabaret, evening
• Music: I’ll Build A Stairway To Paradise
2.3 (a) Dressing Room, Backstage
Henri and Adam prepare for their performance. Adam confronts Henri about taking Lise to America. Henri reveals his
family connections with Lise’s parents and how the Baurel’s helped to hide Lise during the Nazi occupation. Adam gives
Henri an ultimatum to tell Lise the truth about her family’s past.
2.3 (b) Front of House, Montmartre Cabaret
Lise sits alone until Jerry comes in to tell her that he has ended his relationship with Milo. Henri performs his cabaret
with encouragement from Adam at the piano. After the performance the Baurels are brought in and led to a table.
Madame Baurel is distraught but Monsieur Baurel congratulates his son. The couple leave and Lise follows.
Adam and Jerry fight, and then Henri steps in to confront Jerry. Jerry confesses his love for Lise to his friends while
Adam tells him about the Baurel’s commitment to Lise’s family. Lise collects Henri and they leave. Milo watches on.
• Dance styles explored:
»» Salsa: elements demonstrated by three cabaret singers at top of scene (wriggling hips!)
»» Tap dance: chorus number, toe tapping and can-can/showgirls (high kick) styles. Reminiscent of
Fred Astaire
»» Chorus line/showgirl line: simultaneous high kicks in line
SYNOPSIS AND SCENE BY SCENE BREAKDOWN
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2.4 Ballet du Châtelet
2.4 (a) Lise’s Dressing Room
Jerry tries to deliver his sketches of Lise by the Seine to her. Milo passes them on to Lise. Lise opens them and is
captivated by what she sees. She is nervous about her performance and Milo offers words of advice.
2.4 (b) Onstage - ballet performed.
• Music: An American In Paris ballet
• Dance styles explored:
»» Ballet: modern interpretation. Some movements reminiscent of Afternoon of a Faun choreographed by
Nijinsky (first performed at the Théâtre du Châtelet)
»» Corps de ballet: ensemble
»» Social dance: 60s style twist moves
»» Some grand battements à la seconde and most of the men’s moves reminiscent of Jerome Robbins,
West Side Story
»» Jazz ballet: drag walks
»» Classical ballet: pas de deux between Lise and Jerry. Pointe work and lifts. Lise uses classical but Jerry is
more modern/ jazz style
»» Modern jazz: reminiscent of Rooster - Rambert dance company
»» Rambert Rooster moves: elbows tucked in and legs sticking out like a chicken
»» Ballet: Jerry’s solo, chainé turns
2.4 (c) After show party
Jerry congratulates Lise. Milo toasts the dancers and the Baurels for their support. Lise congratulates Adam, but Adam
tells Lise to think about her decision with Henri. He says that love is even more important than art.
• Music: They Can’t Take That Away From Me
• Dance styles explored:
»» Lyrical contemporary/jazz: flowing arms
2.5 The Seine
Jerry sits alone on the bench, as Lise appears to meet him. They are finally together and rush toward one another and
embrace; they begin to dance. And dance.
• Music: They Can’t Take That Away From Me
• Dance styles explored:
»» Ballet/ballroom pas de deux
SYNOPSIS AND SCENE BY SCENE BREAKDOWN
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POST-SHOW ACTIVITY:
CONTRASTING DANCES
Pick two contrasting phrases of Christopher Wheeldon’s choreography using the production photos below as a reminder
of some key moments from the show.
Describe and explain the difference in the dance styles using the following dance vocabulary:
a. Constituent features such as: movement components (what are they doing, where and how. Consider action, space and dynamics).
b. Relationships with other dancers.
c. Motifs/stylistic features and how these each portray the dance idea/themes.
d. Character and storyline portrayed.
(a) Ballet Studio
- Second Rhapsody
(b) Montmartre Cabaret
- I'll Build A Stairway To Paradise
(c) Baurel Manse
- Fidgety Feet
(d) Ballet du Châtelet
- An American in Paris
(d) Ballet du Châtelet
- An American in Paris
(e) The Seine
- They Can’t Take That Away From Me
Questions to consider when analysing and interpreting these phrases:
• What is the choice of style?
• Does the style portray a theme?
• How are the movement components communicating the story effectively?
• What are the relationships with other dancers?
CONTRASTING DANCES
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SECTION 3: ACTIVITIES
CHOREOGRAPHIC TASK SUGGESTIONS
The following activities outline some ways in which you may use An American in Paris as inspiration and as a starting point
to develop new choreography. The activities can be explored by individuals or larger groups as part of a class.
1. Use an item of clothing from the production (e.g. a scarf) to develop and inspire an entirely new character and
include this in a phrase of work.
2. Use ‘social dance’ as a stimulus, perhaps gather inspiration from the dance explored in the trailer:
https://www.youtube.com/watch?v=EiI08lUxTFM
3. Research photographs from 1940s Paris. In duets or small groups, reproduce the image.
• Students decide who they are in the picture and consider their names, occupations and reasons for being on the
street.
• Decide what is happening in that moment
• What happens next? Develop the scene.
• The same exercise could be applied to one or more production photographs (see sketches and photos at the back of
the pack).
4. Using the written information and any production photographs, take key body shapes as a starting point to devise a
dance phrase for a new character in the narrative.
Original Broadway Production photography by Angela Sterling.
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SECTION 3: ACTIVITIES
LESSON PLAN FOR SCHOOLS OR GROUPS:
DANCE AS STORYTELLING AND CONVERSATION
Lesson objective: To explore dance to express ideas and narrative through movement.
a. Show the class a video recording of the pas de deux: https://www.youtube.com/watch?v=WUj3e7E0gok (Recording of
a performance by the Broadway cast on The Late Show with Stephen Colbert, 2015).
b. Ask the class to take notes about specific moments, movements, and connections between Lise and Jerry, and what
they think those moments/movements mean.
c. Ask students to discuss their ideas on what story the dance told. What emotions were conveyed in the dance?
d. Write a list of emotions, feelings and intents on the board (these can be words or short phrases). Ask different students
to show movements they think would communicate each of the words or phrases in your list. For example: if the phrase
is “don’t go,” the student might choose to reach out as if he or she is grasping someone to keep the person from leaving.
e. In pairs, ask the class to “hold a conversation” without using words. Begin by pairing students in groups of two. Make a
strict no-talking rule. You can choose to give the students a topic of conversation, or let them choose their own topic.
Encourage the students to use facial expressions, eye contact, and body movements to communicate. Encourage
them to take turns “speaking” so that they may “listen” by watching and understanding what the other person is
communicating.
f. Ask students to devise a dance phrase on an aspect of their own life. This could be based on a memory, a dream,
a conversation etc. Share the phrases with the entire class and discuss what the audience feels is happening in the
performer’s work.
g. Discuss: Did the students understand each other? What were their conversations? What was difficult about the
exercise? What helped during the exercise?
Original Broadway Production photography by Angela Sterling.
Original Broadway Production photography by Matthew Murphy.
ACTIVITIES
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SECTION 4: REFLECTING ON
AND REVIEWING DANCE IN
AN AMERICAN IN PARIS
REVIEW QUESTIONS AND ANALYSIS
Use this worksheet after seeing the live performance to analyse the different components of dance in the production
elements of the show.
1. OVERVIEW:
1a. Summarise the plot in 5-10 sentences
1b. Describe the style of the production
1c. Did it remind you of any other productions you have seen or know?
1d. What was your instant personal response to the production?
1e. What theatrical devices and conventions were used?
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2. DIRECTION AND CHOREORAPHY:
2a. What do you think the director/choreographer was trying to convey through the production?
2b. Do you think that the choreography, set design and staging supported and conveyed this?
2c. Was there an interesting and varied use of stage space?
3. DANCING:
3a. How would you describe the dancing style?
3b. What different styles of dance did you recognise?
3c. In your opinion, were all styles of dance all successfully used within the production?
REFLECTING AND REVIEWING DANCE IN AN AMERICAN IN PARIS
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3d. What can you say about the dancing in comparison with the dancing in other productions you have seen?
3e. How does the dance reflect the mood of a particular song?
3f. How does the dance convey the narrative?
3g. Who gave the most notable performance? Try to be specific about why in your answer.
4. DESCRIBE THE SET, COSTUME, LIGHTING AND SOUND:
4a. What kind of statement did each of these make?
4b. Pick one scene you enjoyed. How did the costume affect the dancer’s movement?
REFLECTING AND REVIEWING DANCE IN AN AMERICAN IN PARIS 24
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4c. How did the design contribute to the production’s message?
4d. Give examples of how the lighting enhanced the narrative.
ESSAY QUESTIONS
• How does Christopher Wheeldon’s choreography for An American in Paris both honour the traditions of dance
on Broadway while also changing those traditions in a revolutionary way?
• What are the techniques and styles of Christopher Wheeldon’s choreography in An American in Paris? What are
the choreographic influences is he pulling on?
• How effective was the the overall style of the dance in An American in Paris? How did it communicate its
subject matter?
REFLECTING AND REVIEWING DANCE IN AN AMERICAN IN PARIS
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COSTUMES
Jerry
Adam
Madame Baurel
Lise
Henri Baurel
© Copyright Bob Crowley
COSTUMES
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COSTUMES
Prologue street scenes
Milo
The Baurels
Madame Baurel
Baurel’s party guests
© Copyright Bob Crowley
COSTUMES
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COSTUMES
Lise work place- Galeries Lafayette
Galeries Lafayette - Fantasy Fashion
Galeries Lafayette - Fantasy swimwear
Galeries Lafayette - Ladies who lunch / customers
Baurel workers and shop workers
© Copyright Bob Crowley
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COSTUMES
An American in Paris ballet
Ballet de Paris
Baurel party- Russian ballet
© Copyright Bob Crowley
COSTUMES 29
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COSTUMES
© Copyright Bob Crowley
COSTUMES 30
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SET MODELS
Ballet sets
© Copyright Bob Crowley
SET MODELS
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SET MODELS
Parisian street scenes
© Copyright Bob Crowley
SET MODELS
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SET MODELS
Other scenes
© Copyright Bob Crowley
SET MODELS
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REHEARSAL PHOTOS
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PRODUCTION PHOTOS
Original Broadway Production photography by Angela Sterling.
Original Broadway Production photography by Matthew Murphy.
PRODUCTION PHOTOS
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CREDITS AND ACKNOWLEDGMENTS
We’d like to thank the following Dance and Performing Arts teachers for their invaluable input into this pack:
• Laura Dobson
• Elizabeth Marshall
• Sarah Dudley
• Aaron Francis
• Linda Dyson
• Helen Greenham
A special thanks to Heather Worrell from Arts Pool
http://www.arts-pool.co.uk/
Lou Kenney for her support and knowledge.
And Tim Kashini and his team at IT Mentors.
We would also like to thank The Official George and Ira Gershwin website, https://www.gershwin.com/
These resources were created by Rebecca Yeoh at The ArtsLink, on behalf of An American in Paris.
Resources designed by feastcreative.com
CREDITS AND ACKNOWLEDGMENTS 36