THEATRE
Dominion Theatre
268-269 Tottenham Court Road
London, W1T 7AQ
Location map
SHOW TIMES
Opened: 04 Mar 2017
Booking from: 29 May 2017
Booking until: 27 Jan 2018
Duration: 2 hours 30 minutes (including an interval)
AN AMERICAN IN PARIS TICKETS
Monday

29 May 2017

7:30PM
Tuesday

30 May 2017

7:30PM
Wednesday

31 May 2017

7:30PM
2:00PM
Thursday

01 Jun 2017

7:30PM
Friday

02 Jun 2017

7:30PM
Saturday

03 Jun 2017

7:30PM
18 FAVOURITES
Favourite this show
cristinaformica - SeatPlan Profile
alexphillips - SeatPlan Profile
gmr - SeatPlan Profile
cabarach - SeatPlan Profile
natashalund - SeatPlan Profile
meganwilson - SeatPlan Profile
karenstratton - SeatPlan Profile
156 MEMBER REVIEWS
Add a review >
  • braintree 155cm female 27 reviews 5 helpful votes
    60% total rating An American in Paris, 14th March 2017
    An American in Paris feels more like a Sadler’s Wells show than a West End musical, with its focus on ballet it is much slower than West End audiences will expect (especially compared to Disney’s Aladdin around the corner) but it is a beautiful show, which puts the focus on movement rather than flamboyance. Jerry (Robert Fairchild) is an American GI who has decided to stay in Paris rather than return home. He meets up with fellow war hero Adam (David Seadon-Young), now playing piano and writing songs for French textile heir Henri (Haydn Oakley), who is yet to tell his family that his true intention is to become a singer and not to run to the family’s company. They also all love the same woman, talented Monte Carlo ballerina Lise (Leeanne Cope). What follows is not so much who will get the girl but who does the girl want. Fairchild and Cope, who transferred with this production from Broadway are fantastic dancers and can be fairly compared to their film counterparts Leslie Caron and Gene Kelly but the scenes feel much stronger when they are dancing together, rather than when they are acting together. There was some great support from Jane Asher as Henri’s mother, who puts a lot of pressure on her son to not be a bachelor and Zoe Rainey as Milo Davenport, an American who becomes Jerry’s patron for this art. The lack of set is quite distracting; it is a production that relies on video projection and moving scenery and it feels so disappointing to see so much empty space. I was surprised to see that Bob Crowley was involved as his set for Disney’s Aladdin, as well as previous work for the National Theatre because apart from one scene it simply doesn’t feel like the flamboyant shows that West End audiences have come to see. This does have its plus points; it could not only become the show for people who hate musicals but it may dance front and centre, at time where acting and songs have been the main draw. It also has lots of long dance sequences, which would make it perfect for tourists or audiences who may not have strong English skills. This musical is much slower than West End audiences may be used to but it is a faithful adaptation of the 1951 film and is a showcase for some beautiful choreography.
    Sat in Circle D49
    You miss some of stage right but for An American in Paris very little action happens here. It is as comfortable as you can get when sitting for 2.5 hours. I am a natural fidgeter and the back is quite hard but there could be worse seats to be sat in.
    D49 Circle - Dominion Theatre - Seat Review & View Photo
    View from Circle D49
    1 person thought this review was helpful.
  • alexphillips 171cm or 5'7" male 14 reviews 0 helpful votes
    100% total rating An American in Paris, 25th May 2017
    I was already very familiar with the music of George Gershwin, particularly 'An American in Paris', before seeing the show, so I knew I would love that aspect. The 14-piece orchestra was incredible and sounded much larger in scale than they actually were. I was absolutely stunned and blown away by the spectacle on stage: the more minimalist staging against the beautiful projections and vivid lighting really helped to spotlight the dancing. There are not as many songs in this show as with other musicals (although, in this case, it is pure quality over quantity), but you will honestly not care; the ballet is the true heart of this show. In particular, the story builds up to the 12-minute ballet sequence in Act II, accompanied by Gershwin's well-loved 1928 symphonic poem, and it is THE highlight of the night. Stunning choreography performed by some extraordinary talents. Never before have I seen trained ballet dancers who are also such wonderful actors and singers. If you come expecting a typical Broadway musical extravaganza and are indifferent towards the art of ballet, you may be somewhat disappointed. However, for me, An American in Paris undeniably deserves five stars.
    Sat in Stalls V39
    Because this seat is on the aisle, you have a great amount of legroom. More importantly, even though you are sat back in Row V, you have a really good view of the whole stage. The Circle overhang is pretty high, so this does not obstruct your view. In addition, the aisle seat means that you have no one directly in front of you to block any of the action.
    V39 Stalls - Dominion Theatre - Seat Review & View Photo
    View from Stalls V39
  • PDC1 6' 1" male 8 reviews 2 helpful votes
    60% total rating An American in Paris, 29th March 2017
    After receiving such good reviews in the press, and from Elaine Paige, I had very high hopes for An American in Paris; perhaps too high. Sadly, I was rather disappointed. Is it a musical, or is it a ballet with songs? Let's start with the positives. What's not to like about the songs of George and Ira Gershwin, accompanied by a full orchestra. (This was the first time I can ever remember the entr'acte being applauded.) And the dancing was exquisite, though there were too few dancers for a stage as large as the Dominion's. The stand out production number is, without doubt, I'll Build a Stairway to Paradise, but there is probably a two hour wait for it to arrive! As for the negatives, firstly, there is no real plot. I'm not even sure there is a happy ending. If three guys are in love with the same girl, it stands to reason that two of them are going to be broken hearted. The constant wheeling on, and off again, of scenery very quickly becomes irritating. I also missed a lavish, West End set; sorry designers, but computerised projections, no matter how clever, do not count as a set. Finally, and nothing personal, but Jane Asher must currently have the easiest job in theatre, made even easier by learning her French accent from re-runs of 'Allo 'Allo!
    Sat in Circle H39
    It's refreshing to visit a theatre where the restoration levy has actually been spent on restoration, though I'm not sure the renewal schedule has yet reached the seats, which are not the most comfortable. Legroom is almost non-existent forwards and, despite being an aisle seat, not really possible sideways either, because you have to step down into the seat. The good news is, the view is excellent. This may be row H, but the nearest head is probably 10 feet away. As for the safety rail purchasers are warned about, it is too low to cause problems for almost all adults. I went for my usual exploration during the interval, and without sitting in every seat in the circle, I suspect there is no such thing as a poor view from any row. My advice to anybody looking for a very low price seat with good legroom is to choose row Q.
    1 person thought this review was helpful.
  • georgiachoudhuri 1 review 0 helpful votes
    100% total rating An American in Paris, 1st May 2017
    The show stole my heart and took my breath away. Each word, movement and note told an individual story that enraptured the entire audience, while providing joy and emotional intensity in equal, brilliant measures. The show intricately captured the mood of the French post-war era: the country was still torn, scared and nervous but Paris was unashamedly a city of art, and the talented ensemble of performers wonderfully displayed this; demonstrating how Paris chose to rebuild itself and it's belief in life, using the passion and beauty of art.
    Sat in Stalls N32
    My view of the stage was impeccable - I was just off centre, but could see absolutely everything and was at an angle whereby the people in front me weren't blocking my view. My leg room was fine, but I'm very short so I imagine it might have been a little less comfortable for a tall person.
    N32 Stalls - Dominion Theatre - Seat Review & View Photo
    View from Stalls N32
AN AMERICAN IN PARIS SEATING PLAN
With very few obstructions, despite their angled view, tickets for seats at the sides of the stalls can offer great value for money. With a comparatively high stage and a well raked layout, tickets for seats towards the back are preferable to those in the very front rows if you do not want to be craning your neck, however the circle begins to overhang around a third of the way from the back, restricting the view of the very rear of the stage.
Dominion Theatre, London interactive seating plan & seat reviews
STORY
After captivating audiences on Broadway, achieving four Tony Awards and becoming the most acclaimed musical of the year, An American in Paris has now crossed the Atlantic for a run at the Dominion Theatre in London’s West End.

With its roots in the timeless ‘extended symphonic tone poem’ by the Gershwins, this musical classic has been thrust into the 21st century with breath-taking choreography and direction by Christopher Wheeldon, as well as state of the art design by the acclaimed team of Bob Crowley (costume and set design), Natasha Katz (lighting) and Jon Weston (sound), with projections provided by 59 Productions.

An American in Paris follows the fate of former American soldier Jerry Mulligan as he attempts to develop his passion for painting in the world’s most romantic city, along with a little help from his fellow artist friends, struggling composer and pianist Adam Hochberg and singer Henri Baurel.

When Jerry stumbles across the mysterious Lise Bouvier he is instantly enraptured. Add into the mix a lonely heiress and some fierce competition, and you are left with the timeless gripping tale of pain and anguish while trying to grasp hold of true love.

Heavily influenced by the 1951 Academy Award winning motion picture, this new production of An American in Paris is as ground-breaking today as Gene Kelly’s magnificent performance was then.
The Tony nominated Robert Fairchild and Leanna Cope reprise their roles from Broadway as Jerry and Lise, while Haydn Oakley (The Book of Mormon, Sunset Boulevard) takes the role of Henri Baurel, Zoë Rainey (Wicked, The Winter's Tale) as Milo Davenport, Jane Asher (Blithe Spirit, Alfie) as Madame Baurel and David Seadon-Young (Ghost) as Adam Hochberg

This has become one of the hottest West End tickets of the year, with the show having opened at the Dominion Theatre on 4th March 2017 to rave reviews, so don't miss out.
SUITABLE FOR
With some of the finest choreography you are likely to see on the West End this year, anyone looking to be dazzled by some fancy footwork while enjoying a bit of a tearjerker should make sure to check this out. Tickets are flying out so be sure not to miss out on this truly beautiful show.

Age Recommendations: Suitable for ages 6+
PHOTOS AND VIDEO