PLEASANT GROVE — Is everything at The Ruth this good? If their current production of An American in Paris is any indication, the six-month-old theater seems to be on the path to establishing itself as potentially the best semi-professional venue in the state.
This dance musical, led by equity actor Taylor Tolman-Stanger and Ballet West’s Rylee Ann Rogers (Tuesday, Thursday, Saturday cast), packs almost all the entertainment value one can expect from professional theater—in fact, the thrust stage and layout reminded me of Pioneer’s new Meldrum Theatre.
The acting? Tremendous. The dancing? Phenomenal. The choreography? Wonderful storytelling. Everything one could want in a dance musical is in fact there.
An American in Paris was a 2015 Broadway production based on a 1951 film. Loaded with the eternal music and lyrics of George & Ira Gershwin, the lightweight story (with a book by Craig Lucas) takes place in post-WWII Paris, where American GIs seek happiness among a traumatized populace. The focus is a love rectangle – with some sides shaded heavier than others – featuring ballerina Lise, played by Rogers, who commands the attention of two Americans and a Frenchman.
The Ruth’s transcendent production, directed by Jennifer Hill Barlow, masterfully combines movement, talent, and stagecraft into a bewilderingly entertaining evening. At the center is Penny Saunders’ choreography, rich with storytelling and wonderfully expressive. Scene by scene, Saunders’ choices conveyed character’s feelings, motivations, and relationships – effectively conveying emotional movement and character growth. The story here really is expressed through dance, just like the director’s note says.
The production also featured outstanding supporting characters. Kelton Davis plays tortured musician and wounded warrior Adam Hochberg with panache, good character work and storytelling – his dialect, tone and cadence combine with movement and expression to make an endearing character. “He knows what he’s doing,” I thought again and again. Davis gives a confident and believable performance that provides part of the production’s emotional core – not to mention a powerful and resonant performance of the lovelorn “But Not For Me.”
An American in Paris plays at the Ruth through July 19. | Photo: Sydney Dameron
The fourth corner of the love rectangle, and an eventual lynchpin in the musical’s soul, is French performer Henri Baurel, played by Scotty Fletcher. Although it may not seem like it at first, Henri is the most complex and emotionally rewarding of all characters – plus the trickiest to portray. He straddles the line between obvious, public weaknesses and private strength and ambition; silly enough to be laughed at by the audience at the beginning, but noble and ambitious enough to win our hearts at the end. Fletcher’s show stopping 11th-hour “I’ll Build a Stairway to Paradise,” (aided in large regard by Brenda Van der Wiel’s outrageous Radio City costumes), is a crowd favorite – and his careful, confident unfolding of the surprisingly complex character was the most rewarding acting performance of the evening. By the end of the show, it’s Fletcher’s Henri we root for, not the cane-kicking Jerry.
Also, it would be a crime to not mention Summer Sloan Alvey in her strong performance as socialite, benefactor, and antagonist Milo Davenport. Alvey delivers the goods with great line readings – turning the simple, “It’s…nice,” into gold.
In terms of dance, the professional Rylee Ann Rogers does what pros always do: mesmerize. With precise lines and flow that seems impossibly flawless, her dancing is stunning as Lise. The choreography for Taylor Tolman-Stanger as Jerry is larger, connecting to the character’s more outgoing personality. Together, the pair create beautiful images. Saunders’ choreo includes a fun variety of movements that keeps things moving and progressing between the pair.
As for acting, Rogers demonstrates big-screen-ready expressions with “Bette Davis” eyes shimmering with expression and a longing curiosity. Tolman-Stanger, who gives off Aaron Eckhart vibes, looks good in the role of Jerry and fits Van der Wiel’s costumes well – especially his yellow polo shirt in “I’ve Got Beginner’s Luck,” which contrasts well against the chorus’ monotone trench coats and umbrellas.
Technically speaking, the show is a treat. Jo Winiarski’s lovely set design features a Seine river running through the stage (via LED lights), before leaping into the air, forming a flowing, blue proscenium arch, complete with twinkle lights. Milo’s bedroom backdrop, a semicircle of fabric folds halo-ing her bed is exquisite, especially how each fold catches and casts shadows. One set piece that doesn’t work as well are the large canvas set pieces for projections. While the Parisian illustrations on the projections themselves are nice, stage movement causes the canvases to vibrate, often creating an unintentional wave effect on the set pieces, which is sadly distracting.
Ryan Fallis’ lighting design is restrained at first, dampening midnight cafe scenes in an even, moody blue. In Act II, lighting takes on a stronger storytelling role, at one point illuminating soulmates in matching hues. Microphones are also outstanding, with an impressive lack of opening night oopsies. Stage manager Jordan Liau’s scene changes are precise and hit their mark – including one scene change that involves brooming rose petals into the stage pit.
With incredible dancing, fabulous singing, and remarkable production values, The Ruth’s production of An American in Paris is not to be missed. It’s the best thing I’ve seen onstage in Utah this year, and hopefully a harbinger of the future of this new venue.
