The musical "An American in Paris" borrows from a movie montage

Last night, the original Broadway musical "An American in Paris" was staged at the Poly Theater in Beijing, allowing the Beijing audience to follow the superb actors and stroll through the streets of Paris, singing, dancing, encountering beautiful love, and fulfilling a romantic dream.

An American in Paris is a symphonic poem written by George Gershwin in 1928, a masterpiece in the history of American music, which has been adapted into film and musical. The musical performed in China is a 2015 work directed and choreographed by Christopher Wilton. As soon as the play was staged, it won the Tony Awards for Best Choreography, Best Stage Design, Best Lighting Design, and Best Soundtrack that year, and the wonderful degree of the work can be imagined.

The play is quite stunning at the beginning, and the concentrated display of lights and colors sets a colorful overall tone for "An American in Paris". The creative stage design in the play made the audience shine, and the stage designer turned the projection and geometric division method into an art, and as the plot extended, many scenes were created like tricks, creating a painting-like dream stage.

Particularly impressive is the way it transitions. In the performance, the audience can not see any dark scene, everything happens in front of the audience, and the characters between the curtains will continue the plot through monologues or actions, and will not make the audience play because of the transition pause. For example, when the tavern switches to the ballet classroom after the song and dance, the male protagonist walks to the front of the stage to make a monologue, and the music behind the stage is changing the set, and the audience is still in the world created by the male protagonist's performance. All the transformations are carried out like clouds and flowing water, which can be said to be seamless, giving the audience a harmonious sense of beauty, and keeping the audience immersed in the state of immersion in the play, which is a very pleasant viewing experience. This design also makes the repertoire more bright and the lines clearer. And all this thanks to the director's whimsical spatial imagination, he insisted that this must be a two-hour more than two-hour performance, so he gave special meaning to each transition, and put the charm of montage in the music film on the stage.

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