A new year must start with hope and resolution, and if you’re very rich, with influence in the highest places, I’d urge you to resolve to dust off the private jet and get to Paris quick this weekend hoping to find a ticket somehow for the last Châtelet performances of An American in Paris, Christopher Wheeldon’s s’wonderful, s’marvellous new staging of the Gershwin/Minnelli musical film. Or book for New York in March when the show moves to its second home on Broadway. But surely there must be a UK run soon.
It’s the first big dance-musical of the Royal Ballet’s favourite son, which is why we should pay attention. The secret of Christopher Wheeldon’s current status at 41 as blue-eyed boy of the Western ballet world is his geniality. Geniality is not the first quality necessary in a great choreographer (Balanchine, Ashton and MacMillan were not longing to be loved, they were insistently asking questions about dance’s theatrical potential).
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in