An American in Paris

Bored witless by Brexit? Wary of watching the news? In an increasingly brutish world, what you need is an industrial-sized dollop of escapism. And this ‘new’ musical, as it’s billed, is just the ticket.

It’s only new in the sense that some of the numbers – The Man I Love, Fidgety Feet, for example – are borrowed from the wider songbook of George and Ira Gershwin, while the book has been given a little more heft by Craig Lucas. But anyone of a certain age will remember Vincente Minnelli’s academy award- winning 1951 film starring Gene Kelly and Leslie Caron.

And it’s gorgeous from start to finish. You can tell straight away that first-time director Christopher Wheeldon cut his teeth on dance. From the balletic (and wordless) opening seven minutes, as we’re introduced to the main characters, to the final, thrilling 17-minute ballet, in which our heroine dances with the man of her dreams, there’s not one wasted gesture as Wheeldon fluidly moves his large cast round the Dominion’s imposing stage.

The story couldn’t be simpler. It is 1945 and a bruised and battered Paris is emerging from many dark days, swastika-strewn flags replaced in the opening moments by the Tricolor, although the eprivations and betrayals of the recent past are less easily erased.

GI Jerry Mulligan has chosen to stay on in the French capital to try his hand as an artist. He befriends struggling composer Adam Hochberg (David Seadon- Young) and Henri Baurel, a closet song-and-dance man who must keep his ambition secret from his martinet of a mother (Jane Asher, in crisp form) and father (Julian Forsyth).

Into their lives waltzes troubled Lise Dassin, a shopgirl with her sights set on the ballet, and object of desire, to a greater or lesser degree, for all three men. In truth, Henri (a lovely performance from Haydn Oakley) probably isn’t the marrying kind but lise has her reasons for remaining loyal to him, even if she’s increasingly drawn to the confident, charismatic Jerry, himself the target of benefactor Milo Davenport (Zoe Rainey, terrific).

Well, we all know how it’s going to end but what a joy it is to go on their journey. Royal Ballet School-trained Leanne Cope dances like a dream but she’s no slouch either in the acting and singing stakes. And Robert Fairchild, imported from the Broadway production, is thrillingly good as Jerry, fleet of foot and full of fun.

Throw in Bob Crowley’s breathtaking sets cleverly employing video projections, a succession of musical standards and dancing to make the spirits soar, and you’ll want to book a return ticket on your way out. Who could ask for anything more?

Until 30 September at the Dominion Theatre, Tottenham Court Road, London W1T: 0844-847 1775, www.nederlander.co.uk/dominion-theatre