Dominion Theatre
268-269 Tottenham Court Road
London, W1T 7AQ
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Opened: 04 Mar 2017
Booking from: 23 Sep 2017
Booking until: 28 Apr 2018
Duration: 2 hours 30 minutes (including an interval)



23 Sep 2017


25 Sep 2017


26 Sep 2017


27 Sep 2017


28 Sep 2017


29 Sep 2017

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  • braintree 155cm female 33 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.
  • amandareynolds 5"6 female 14 reviews 0 helpful votes
    80% total rating An American in Paris, 16th August 2017
    This show was a feast for the eyes! The projections were some of the best I have ever seen. In some shows they can seem to detract from the action on stage but in this case they completely added to it and made the stage come alive. You could really imagine being in Paris and this was mainly due to the fantastic use of the projections and scenery. The use of small props, flats and scenery was added to by the dancers who not only brought the props onstage but also danced their way around stage. Not a second was wasted on the stage. Everything was choreographed to within an inch of its life. This show is not your average musical theatre production – it is a lot more dance based than most, with limited songs and no big ensemble numbers. However the dancing is exquisite and the talent on stage is outstanding! I am not personally a big ballet fan, especially not traditional ballet, and did find some of the dance pieces quite lengthy however the score was lovely and the storytelling was impressive. Overall this show is one not to be missed for anyone loving dance, especially ballet, and a clever little story line. For me, the most amazing thing was the set design and projections which were worth the ticket price alone to see.
    Sat in Stalls T13
    The seat was comfortable and leg room was good. Having an aisle seat also meant that you could spread out slightly if needed. It is a very big theatre and row T felt quite far back. The view of the stage was good and you could see the whole stage but because we were so far back it did mean that you couldn't quite see the actors facial expressions. However as this is a dance show it meant you could see the amazing sets and dance sequences in full. The rake is not very tiered by this point but I had no problem seeing between and over the heads of the people in front of me.
  • AlexPhillips 171cm or 5'7" male 35 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
  • Louise17 5ft 6in 4 reviews 0 helpful votes
    40% total rating An American in Paris, 28th June 2017
    I was very disappointed in American In Paris. It had so many 5 star reviews, but it wasn't nearly as good as the film with Gene Kelly, or the stage version of 42nd St which I saw in April (42nd st was one of the best shows I've ever seen). The choreography, dancing, acting, script, costumes of American in Paris were very average. The only good thing in it were the set designs, and the number Stairway to Paradise, but even that wasn't as good as in the film. The stage version was also different from the film in that it had some unknown, obscure Gershwin songs in it which weren't his best. This is not a patch on the film. It was bland. See the film with Gene Kelly and you will realise how bad this stage version is in comparison. If you want to see a really great stage musical see 42nd St - that is full of life and excitement, which the stage version of American in Paris isn't.
    Sat in Stalls E23
    View of the stage was totally blocked by tall woman sitting in front of me, so had to constantly lean to the left or right of her to catch glimpses of the stage, but even then I couldn't see the dancers feet if they were dancing at the back of the stage. My friend who was in E22 had the same problem - a tall man sitting in front of her. The seats are hardly raked at all from rows A to I, and considering they were £72 seats, I wasn't pleased. In the interval we moved to a couple of empty seats in row J - 23 and 24, but then the person who was sitting there came back, so we moved to a couple of empty seats in J25 and J26, where we saw the whole of the second half. These seats in row J are top price £125, and they are more raked than rows A-I, but even in J25 and J26, we had a couple of tall people in front of us who blocked out the stage a bit, although not as badly as in row E. So even if I'd paid £125 for top price seats in row J, I wouldn't have had a clear view. Thought maybe I should have gone for the front of the circle, as at least no-one would be sitting in front of me then, but there is a safety rail in front, so this might block out the view a bit. Also the top price £125 seats in the circle are not at the front, but in the middle of row C & D, so if someone tall sat in front of you here, they would also block out the view. Don't think any of the seats at this theatre are raked enough to provide a good, clear view if someone tall is sitting in front of you. I am 5ft 6, so not short, but if anyone taller than 5ft 6 is sitting in front of me they would block out the view at this theatre because the seats aren't raked.
    E23 Stalls - Dominion Theatre - Seat Review & View Photo
    View from Stalls E23
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
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 Leanne Cope reprises her role from Broadway as Lise, opposite Ashley Day as Jerry Mulligan, 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.
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+