An American in Paris


An American in Paris

Full-Length Musical, Dramatic Comedy  /  4w, 5m

Music and Lyrics by George Gershwin and Ira Gershwin
Book by Craig Lucas

Originally produced on Broadway by Stuart Oken, Van Kaplan & Roy Furman
By special arrangement with Elephant Eye Theatrical & Pittsburgh CLO and Théâtre du Châtelet

The romantic story of a young American soldier, a beautiful French girl, and an indomitable European city... all set to the immortal score from George and Ira Gershwin. 

Image: 2015 Broadway Production (Matthew Murphy for MurphyMade)

  • Cast Size
    Cast Size
    4w, 5m
  • Duration
    More than 120 minutes (2 hours)
  • SubGenre
    Adaptations (Stage & Screen), Docudrama/Historic, Romantic Comedy
  • Audience
    Target Audience
    Appropriate for all audiences
  • Winner! Four 2015 Tony Awards, including Best Orchestrations
    Nominee: Eleven 2015 Tony Awards, including Best Musical
    Winner! Four 2015 Drama Desk Awards, including Outstanding Orchestrations
    Nominee: Twelve 2015 Drama Desk Awards, including Outstanding Musical
    Winner! Four 2015 Outer Critics Circle Awards, including Outstanding New Broadway Musical
    Winner! The 2015 Drama League Award for Outstanding Production of a Musical
An American in Paris



Set in the French capital in the wake of World War II, An American in Paris tells the romantic story of a young American soldier, a beautiful French girl, and an indomitable European city – each yearning for a new beginning in the aftermath of international conflict. Inspired by the Academy-Award winning 1951 film, the new stage musical features a ravishing score by George and Ira Gershwin and a fresh, sophisticated book by Tony nominee and Pulitzer Prize finalist Craig Lucas.

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The show's timeless musical numbers include "I Got Rhythm," "'S Wonderful," "But Not For Me," "The Man I Love," "Shall We Dance?" and "(I'll Build A) Stairway To Paradise."

Inspired by the 1951 Academy Award-winning film, the stage musical An American in Paris opened at the Palace Theatre on Broadway in April 2015, after an engagement at the Théâtre du Châtelet in Paris. The Broadway production ran for 623 performances and led to a successful West End production and US national tour.

Act I

Adam Hochberg, a young American WWII veteran with a pronounced limp, sits at a piano and recounts the story of his friend, Jerry Mulligan, arriving in Paris. Just after the liberation of France, US Army Lieutenant Jerry Mulligan explores the bustling streets of Paris and falls for a mysterious French girl (“Concerto in F”). Jerry decides to stay in Paris to nurture his passion for painting. He makes his way to a cafe/lodging house, where he meets and befriends Adam, a gifted pianist and fellow veteran. Henri Baurel, the son of wealthy French industrialists, enters to rehearse a nightclub act with Adam. Henri plans to run his family’s American branch while secretly pursuing a career as a nightclub star. He is also anxious about proposing to his girlfriend, whose name he will not reveal. The three men disagree over the role of art in the wake of war, but ultimately bond in friendship as they imagine a brighter future (“I Got Rhythm”).

Adam takes Jerry to the Paris ballet, where he accompanies auditions, to sketch the dancers. Jerry bumps into beautiful and headstrong American philanthropist Milo Davenport, who, struck by his talent and good looks, invites him to a party to introduce him to gallery owners. Henri’s mother, Madame Baurel, arrives with Ballet Director Maestro Z, introducing Milo as a potential donor. The audition begins and, to Jerry’s shock, the mysterious girl arrives. She dances beautifully, impressing the Ballet Director, Milo, Jerry and Adam (“Second Prelude”).

The girl introduces herself as Lise Dassin, daughter of famed ballerina Arielle Dassin, before hurriedly leaving for her job. Milo declares that she will fund the season only if the Maestro commissions a piece for Lise, with a score composed by Adam and designs created by the ‘noted painter’ Jerry Mulligan. Helpless at her charismatic hands, the maestro agrees, except for allowing Jerry to design the ballet—he has his own stable of designers. Infatuated with Lise, Adam sits down to write a ballet joining French and American culture.

Jerry finds Lise at her job at a perfume counter and tells her she got the job. Jerry does his best to charm her, and she agrees to meet him at the Seine that evening (“I’ve Got Beginner’s Luck”). Madame Baurel congratulates Lise, saying she is to be the prima ballerina of the Théâtre du Châtelet Ballet. Apparently, Lise lives with the Baurel family, which they have not disclosed to the Ballet in order to avoid charges of nepotism.

At the Baurel home, Henri attempts to write a letter proposing to his girlfriend, whom we learn is Lise. Meanwhile, Lise sits down at a cafe and writes a letter to her mother, who fled France and is presumed dead. Lise wonders whether she should marry Henri or take a risk on true love (“The Man I Love”). Adam, watching the scene from afar, falls more deeply in love with Lise.

Lisa meets Jerry on the banks of the Seine and tells him she cannot accept his friendship. He begs her to meet him every day so he can draw her until he gets it right. Both Lise and Jerry are haunted by events during the War, and in an attempt to put the pain of war behind them, they agree to meet as two friends, with Lise assuming a new name (“Liza”). Lise insists that Jerry never tell anyone about their meetings. Overjoyed, Jerry tries to kiss her, but she pushes him in the river. Still, they agree to meet the next day, same time, same place.

Henri remains stumped in his attempts to propose to Lise. His mother implies that his reluctance is perhaps due to a romantic interest in men. But Henri denies any such interest, and warns him that the family, vulnerable to accusations of collaboration with the Nazis, must consider appearances. When Lise arrives, Henri dodges the subject and tells her of his upcoming American tour. Lise offers to accompany him, and he takes this as an agreement to the proposal he has not yet made.

Back at the cafe, the three men rejoice over their love for Lise, singing a trio without realizing they’re all thinking about the same woman (“S’Wonderful”). Henri shows the other two his proposal letter, only to find that he has Lise’s notebook by mistake. He reads the letter to her mother about her doubts over doing what is expected of her, marrying Henri and following her heart. Adam offers to console him with a drink while Jerry heads over to Milo’s party.

Jerry arrives at Milo’s apartment to discover that there was no party; Milo has invited him on a date on false pretenses (“Shall We Dance?”). Initially annoyed, Jerry relents after Milo gives him constructive criticism on his art and takes him to meet various gallery representatives. They begin a casual relationship.

Over the next week, Adam and Lise work on the new ballet, struggling with the material. Milo begins to fall in love with Jerry as they explore the Parisian art world, exploding with color and new life. Meanwhile, Lise and Jerry find solace in their short daily meetings. Milo and Jerry attend a costume party, and Jerry is shocked to discover Lise there with Henri. Realizing that Lise is engaged to his friend, Jerry explodes in a fit of rage and, with Lise watching, kisses Milo (“Second Rhapsody/Cuban Overture”).

Act II

The Baurels host an elegant party, where they’ve commissioned Adam to play, unaware of his connection to Henri. Jerry attends with Milo, but Henri, covering up his secret nightclub act, denies knowing them, arousing his parent’s suspicions. Jerry discovers that the party is a benefit for the ballet, and he fears that Lise will dance in the showcase performance. When Lise is not among the dancers, Jerry laughs in relief, causing a stir and eventually leading a wild dance number (“Fidgety Feet”).

After the performance, Lise appears as a guest of honor. The Baurels express an interest in hearing live jazz, and Jerry recommends the nightclub where Henri and Adam are booked to perform. The Baurels announce Lise and Henri’s engagement, crushing both Adam and Jerry, who lashes out at Milo and storms into the garden. Henri asks Milo to dance, and they bond as kindred spirits.

Lise confesses that she loves Jerry but cannot be with him because she is beholden to Henri for a reason she refuses to disclose. Jerry questions Henri’s love for her and begs her to meet him again. Lise tells him she does not have the luxury of love and runs away because “life is not like your American movies.” Jerry is left in despair as Milo, Adam, and Henri look on, having witnessed the altercation.

Back at their respective homes, they all act as if nothing has happened. In parallel conversations, Milo and Henri question Jerry and Lise, seeking honesty (“Who Cares?/For You, For Me, For Evermore”). Henri pledges his love for Lise, but Jerry decides to be honest with Milo and breaks things off. Adam and Milo reflect on the love around them, wondering why they remain alone (“But Not For Me”).

In a nightclub in Montparnasse, Adam and Henri prepare for one of their final performances. Adam begs Henri to let Lise stay in Paris and accuses him of being a coward both during the war and afterwards. Henri, furious, admits the truth: Lise is beholden to Henri because he and his family saved her life during the occupation. She was the daughter of the Baurel’s Jewish butler, and she was entrusted to their care after her parents were arrested by the Nazis. Henri threw himself into the Resistance, all of them risking their lives for her, and have kept this secret due to the disruption this would cause their social status in the fragile post-war world. Adam asks if that means that Lise has to throw away her life to pay Henri back when neither of them really love each other. He begs Henri to find the courage he had during the war, freeing Lise to make her own decisions.

Jerry sees Lise at the nightclub. He tells her that he and Milo are through and begs her to tell him what obligations she has to Henri, but Henri’s act starts. Henri’s act begins and he is stricken with nerves, but Adam encourages him to remember his dream, and he fantasizes of performing an elegant number in Radio City Music Hall (“I’ll Build a Stairway to Paradise”). His act ends triumphantly, until he realizes his parents were in attendance.

Mme Baurel berates him for shaming the family name, but Mr. Baurel is proud and in awe of his son’s talent, and she capitulates. Lise, however, is angry at Jerry for accidentally exposing Henri. She leaves and Jerry, trying to run after her, accidentally knocks Adam to the ground. When he tries to help him up, Henri stops him, furious for disrupting his relationship with Lise. Jerry accuses Henri of being a coward, and Henri punches him. Adam tells Jerry about Lise’s past and Henri’s involvement in the Resistance. Jerry, determined to keep fighting for love, tells Henri that if he chooses duty over love, they are all doomed. Lise, who has overheard the confrontation, comes back in, telling Henri to take her home. Jerry pleads with her, but she departs, leaving him heartbroken. Adam has a flash of insight: if life is dark, then it is an artist’s duty to celebrate and bring love back into life. He feverishly revises the score for the Ballet, turning it into a celebration of life.

On opening night at the Ballet, Jerry shifts nervously outside Lise’s dressing room, a scroll in his hand. Milo, seeing his indecision, offers to deliver it for him. Lise opens the scroll to find that it is his drawing of her, finally complete. Milo confesses that Jerry did teach her one thing: money cannot buy love, which is one of a kind. Lise thanks Milo, but confesses that she knows the ballet will fail; she is so upset that she has lost her passion onstage. Milo advises her to think of someone who made her feel that passion as she dances. Lise clutches Jerry’s drawing tight as places are called. The ballet begins, and as it progresses, Lise imagines her partner has become Jerry, and they perform a magnificent pas de deux. The ballet ends with Lise triumphant, having become a bona fide star (“An American in Paris”).

After the curtain call, Jerry apologizes to Lise, who admits she wouldn’t have danced as passionately if she didn’t love him. Henri admits to his new confidante Milo that he can’t tell if his love for Lise is out of duty or passion; he asks Lise to take a drive with him. Milo approves, asking Henri to call her the next day. Lise gives Adam a rose from her bouquet and kisses him good-bye. Adam, glowing amid wonderful reviews and audience adulation, realizes he loves Lise not for herself, but for the light she brings into the world. The three men, grateful for the lessons they’ve learned vow to always remember Lise (“They Can’t Take That Away From Me”).

Jerry sits alone by the Seine. Lise appears; she has decided to follow her heart. They dance together and walk off into the Paris night (“Epilogue”).


Adam Hochberg
Jerry Mulligan
Henri Baurel

Lise Dassin
Milo Davenport
Madame Baurel


Mr. Z (The Maestro)
Monsieur Baurel


French Man 1
French Woman
Filthy Woman
French Soldier
French Man 2
Madame Dutois
Monsieur Dutois
Department Store Manager


Soldiers, French Citizens, Bar Patrons, Dancers, Store Customers, Celebrities, Party Guests

  • Time Period 1940s / WWII
  • Setting Paris, 1945.
  • Features Period Costumes
  • Duration More than 120 minutes (2 hours)
  • Cautions
    • Mild Adult Themes


“Superb...a riot of colour and movement, with irresistible dance routines and a wealth of Gershwin classics" - Michael Billington, The Guardian

“A breathtakingly fresh musical in which love and rebirth after war are embodied in ecstatic, transporting movement.” – The Hollywood Reporter

“Just plain gorgeous... pays loving tribute to the 1951 movie, to the marriage of music and movement, and to cherished notions about romance that have been a defining element of the American musical theater practically since its inception. Just about everything in this happily dance-drunk show moves with a spring in its step, as if the newly liberated Paris after World War II were an enchanted place in which the laws of gravity no longer applied. Even the elegant buildings on the grand boulevards appear to take flight.” – Charles Isherwood, The New York Times

“What really makes the show feel fresh is the context in which Lucas has reconceived it... deepening and darkening the material so it now seems genuinely relevant for our own war-torn age.” – Variety

An American in Paris weds music and movement, song and story with such exhilarating brio that you may find your own feet fidgeting under your seat before it’s over, and your heart alight with a longing to be swept up in the dance.” – The New York Times

“Sublime... exuberant... elegant... conveys with grace and style the heartfelt romance and emotional colors that keep us enchanted until the last beautiful note has been sung.” – Associated Press

"It’s got starlight, it’s got sweet dreams and, yes, it’s got rhythm too. You almost feel you couldn’t ask for anything more, but this Gershwin musical also has that indefinable something called grace, a lightness that would out-soufflé even Julia Child, and a joie de vivre that lifts it, and us, all night long.” – The Times


  • An American in Paris - Highlights youtube thumbnail

    An American in Paris - Highlights

  • An American in Paris - Trailer youtube thumbnail

    An American in Paris - Trailer

  • An American in Paris - Ogunquit Playhouse  youtube thumbnail

    An American in Paris - Ogunquit Playhouse

  • "I Got Rhythm" youtube thumbnail

    "I Got Rhythm"

  • An American in Paris - 2015 Highlights youtube thumbnail

    An American in Paris - 2015 Highlights

  • An American in Paris - Pas de Deux youtube thumbnail

    An American in Paris - Pas de Deux

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  • An American in Paris

    Image: 2015 Broadway Production (Matthew Murphy for MurphyMade)

  • An American in Paris

    Image: 2015 Broadway Production (Matthew Murphy for MurphyMade)


Music Samples

Act I

1. Prologue – Pre-recorded
2. Concerto Ballet – Orchestra (Jerry, Lise & Company dance)
2a. Sunshine Transition/Prelude I – Orchestra
3. “I Got Rhythm” – Henri, Adam, Jerry, Dutois & Patrons
3a. Transition to Ballet Hallway – Orchestra
3aa. In The Hallway – Pre-recorded
3b. Ballet Class – Orchestra
4. Prelude II – Orchestra (Lise dances)
4a. Post ’Lude – Orchestra
4b. Streets of Paris – Orchestra
5. “(I’ve Got) Beginner’s Luck” – Jerry
5a. Lise & Mme. Baurel Underscore – Orchestra
5b.  Transition To Baurels – Orchestra
6. Letters Underscore – Orchestra
7. “The Man I Love” – Lise & Women
7a. Along The Seine – Orchestra
8. “Liza” – Jerry
8a. Transition to The Manse – Orchestra
8b. Baurels Exit – Orchestra
8c. Glowing Liza – Orchestra
9. “’S Wonderful” – Jerry, Adam, Henri & Ensemble
9a. After ‘S Wonderful – Orchestra
9b. Ketchup Into The Ritz – Orchestra
10. “Shall We Dance?” – Milo & Jerry
11. Rhapsody Ballet – Orchestra (Lise, Jerry, Milo, Henri & Company)

Act II

12. Entr’acte – Orchestra
12a. Baurel Waltz – Pre-recorded
12b. For Lily Pons Ballet – Orchestra
13. “Fidgety Feet” – Jerry & Company
13a. Lise Introduction – Orchestra
13b. Bleak Underscore – Orchestra
13c. Embraceable You Underscore – Orchestra
13d. Party Prerecord – Pre-recorded
13e. The Man I Love Underscore – Orchestra
14. “Who Cares?” – Milo & Henri
15. “For You, For Me, For Evermore” – Milo, Lise, Jerry & Henri
16. “But Not For Me” – Adam & Milo
17. “Clap Yo’ Hands” Transition – Female Trio
17a. In The Dressing Room – Orchestra
17b. “Clap Yo’ Hands” Solo – Cabaret Singer
18. “(I’ll Build A) Stairway To Paradise” – Henri & Ensemble
18a. Transition To Backstage – Orchestra
18aa. Drawings Underscore – Orchestra
18b. Before Paris Ballet – Orchestra
19. Paris Ballet – Orchestra (Lise, Jerry & Company dance)
20. Ballet Bows / Scene – Orchestra
21. “They Can’t Take That Away From Me” – Adam, Jerry, Henri & Ensemble
22. Epilogue – Orchestra
23. Bows (“I Got Rhythm”) – Company
24. Exit Music – Orchestra

Full Orchestration

Broadway Orchestration:
Reed 1 (Piccolo, Flute & Alto Flute)
Reed 2 (Flute, Alto Saxophone & Clarinet in A and Bb)
Reed 3 (Oboe, English Horn, Alto Saxophone, Tenor Saxophone & Clarinet in A and Bb)
Reed 4 (Bass Clarinet, Baritone Saxophone & Bassoon)

Horn in F
Trumpet 1
Trumpet 2
Trombone 1 (Tenor)
Trombone 2 (Bass)


Piano & Celeste

Violin 1 (one player)
Violin 2 (one player)
Viola (one player)
Cello 1 (one player)
Cello 2 (one player)
Bass (one player)

Tour Orchestration:
Reed 1 (Flute, Piccolo, Alto Flute)
Reed 2 (Clarinet in A and B-flat, Flute, Alto Sax)
Reed 3 (Clarineti in A and B-flat, Alto Sax, Tenor Sax)

Trumpet 1
Trumpet 2


Keyboard 1
Keyboard 2
Keyboard 3

Violin 1 (one player)
Violin 2 (one player)
Cello (one player)
Bass (one player)

  • Musical Style Classic Broadway
  • Dance Requirements Difficult
  • Vocal DemandsModerate
  • Orchestra Size Medium
  • Chorus Size Large

Licensing & Materials

  • Licensing fees and rental materials quoted upon application.

Music Rentals

Concord offers a full suite of resources to help you put on the show of a lifetime!

Broadway Orchestration:
1 Piano-Conductor
25 Libretto-Vocal Book
1 Reed 1
1 Reed 2
1 Reed 3
1 Reed 4
1 Horn
1 Trumpet 1
1 Trumpet 2
1 Trombone 1
1 Trombone 2
1 Drums
1 Percussion
1 Piano & Celeste
1 Accordion
1 Violin 1
1 Violin 2
1 Viola
1 Cello 1
1 Cello 2
1 Bass

Tour Orchestration:
1 Piano-Conductor
25 Libretto-Vocal
1 Reed 1
1 Reed 2
1 Reed 3
1 Trumpet 1
1 Trumpet 2
1 Trombone
1 Drums/Percussion
1 Keyboard 1
1 Keyboard 2
1 Keyboard 3
1 Violin 1
1 Violin 2
1 Cello
1 Bass

A full score is available for an additional fee. Please contact your licensing representative for additional information.

1 Piano-Conductor
25 Libretto-Vocal Book


Ira Gershwin

Ira Gershwin, the first songwriter to be awarded the Pulitzer Prize, was born in New York City on December 6, 1896. In 1917 The Evening Sun published his first song (“You May Throw All The Rice You Desire But Please, Friends, Throw No Shoes”). Four years later, Ira enjoyed hi ...

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George Gershwin

George Gershwin was born in Brooklyn on September 26, 1898, and began his musical training when he was 13. At 16, he quit high school to work as a "song plugger" for a music publisher, and soon he was writing songs himself. "Swanee," as introduced by Al Jolson, brought George ...

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Craig Lucas

Craig Lucas is a American playwright, screenwriter, theatre director, musical actor, and film director. He is currently Associate Artistic Director at the Intiman Theatre in Seattle.

Born on April 30, 1951, and abandoned in a car in Atlanta, Lucas was adopted when he was eight ...

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