Awards and Nominations

2015 Tony Awards®
(4 wins including)
Best Scenic Design of a Musical (Bob Crowley & 59 Productions)
Best Lighting Design of a Musical

(12 nominations including)
Best Musical
Best Direction of a Musical

2015 Drama Desk Awards 
(4 wins including)
Outstanding Set Design
Outstanding Choreography

(12 nominations including)
Outstanding Musical
Outstanding Director of a Musical 
Outstanding Projection Design (59 Productions)

2015 Outer Circle Critics Awards 
(4 wins including)
Outstanding New Broadway Musical
Outstanding Director of a Musical

(8 nominations including)
Outstanding Set Design
Outstanding Lighting Design

2015 Drama League Awards 
(1 win and 3 nominations)
Winner - Outstanding Production of a Broadway or Off-Broadway Musical



creative team

Music and Lyrics
George Gershwin


Craig Lucas


Director / Choreographer

Christopher Wheeldon


Musical Adaptation

Rob Fisher


Set and Costume

Bob Crowley


Lighting Design

Natasha Katz


Video Design
59 Productions

59 Productions Team

Creative Directors
Leo Warner & Benjamin Pearcy

Senior Animators
Lawrence Watson
Nicol Scott

Senior Assistant Designer & Line Producer
Akhila Krishnan

Assistant Designer
Brad Peterson

Assistant Animators
Jarek Radecki
Joseph Pierce

Additional Animation
Georgia Clegg

Video Programmer
Zach Peletz
Ben Krall

Video Design, for 59 Productions:
Creative Director: Leo Warner
Animation Director: Zsolt Balogh
Senior assistant designer: Akhila Krishnan
Animators: Ninoslav Vrana, Dan Radley-Bemnnett
Assistant Designer: Gareth Damian-Martin

Programmer and associate designer: Nick Simmons
Assistant programmer and automation tracking: Dan Murfin

Live Action Shoot:
Director: Leo Warner & Nick Hytner
DoP: Vanessa Whyte
Camera Assistant/CIT: Chris Belcher
Producer: Akhila Krishnan

Related Projects

Project tags

An American in Paris - Broadway

Stuart Oken, Van Kaplan and Roy Furman

Creating the projection design


An American in Paris, composed in 1928 by Gershwin, is a symphonic poem of about twenty minutes hailed by the critic Isaac Goldberg as being an “American Afternoon of a Faun”. In 1950, the Hollywood producer Arthur Freed had the idea to make a film based on this piece. As he would later do with Singin' in the Rain, he envisioned a set of existing songs by George and Ira Gershwin on which a story could be created.

As conceived by choreographer and star Gene Kelly, director Vincente Minnelli and book writer Alan J. Lerner, the story of the film focused on an American GI, Jerry, a painter in Montmartre who meets Lise, a young saleswoman. Lise however, is loved by Henri, a singer of middle-of-the-road popular songs. The film culminates in a ballet where the couple reunites. This dance sequence became one of the most famous in the history of the Hollywood musical and the film went on to win six Oscars.

It would be nearly 65 years before a theatrical version of the musical would find its way to the stage. The stunning stage production of An American in Paris will premier at the Théâtre du Châtelet in Paris, before being restaged on broadway at the Palace Theatre. Christopher Wheeldon directs a remarkable cast of singers, actors and dancers as they bring the magic and romance of Paris and the timeless songs of George and Ira Gershwin into perfect harmony. This time, the story focuses on 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 war.

Video design by 59 Productions works seamlessly with the staging and the scenic elements, to not only create the Parisian streets within which the story is set, but to also bring them to life in their own right. Taking their inspiration from the idea of a sketchbook, the projections transform from simple line drawings to finished artworks in paint and pastel. They work in tandem with an elegantly mobile set and a cast of fluid dancers to create a dynamic and exciting world on stage.


'Bob Crowley, a key collaborator on some of Wheeldon's dance work, is recruited here on both sets and costumes; his contribution to the visual fluidity of the storytelling is enormous, aided immeasurably by video elements from 59 Productions. The artful blend of physical and digital scenic craft allows for nimble shifts in the action from, say, a riverbank to a ballet studio to a jazz club to a masked ball in just a few bars of music.... Breathtakingly fresh.'

The Hollywood Reporter

'An enchanting and deeply moving experience'.


'With its shimmering, poetic renderings of one of the world’s most beautiful cities — boats floating in the Seine awash in starlight, pink clouds scudding over the rooftops at dusk — the musical is as rich a visual feast as it is a musical one.'

New York Times

Scenery and costumes by Tony-winner Bob Crowley are bold and witty, with inventive props whirling around amid the dancers, including artfully aged mirrors to simulate a ballet studio. Clever projections by 59 Productions help the cast appear to ramble all around Paris, notably creating a peaceful quayside Seine bench as well as a seedy nightclub and elegant apartments.

ABC News


'Visually sumptuous and musically rapturous – and really, what more could you ask for? – the show has so many charms...An American In Paris soars: Bob Crowley has outdone himself as designer of the kinetic sets and gorgeous costumes, with splendrous assists from lighting designer Natasha Katz and the projections by 59 Productions. Crowley and his team brilliantly emulate the whimsically suggestive Oscar-winning designs.'


'The result is bold, satisfying and witty, greatly helped by the colourful fluency of [the] virtuosic projected designs which bowl around Paris, creating everything from boats on the Seine to the interior of the Galeries Lafayette.' 

**** The Telegraph

'Painted sets and old fashion screens, sophisticated video projections that erect entire districts of Paris in only a few sprays of light... A dance studio turns into a big department store, the banks of the Seine spill over into a jazz club. All the artistic genres slide one after the other: realistic, impressionist, abstract, and in between this parade.'

Le Monde

“Surprising projections on screens and mobile panels create a virtual set, which transport us from one scene to another, from one location to another, like a 3D motion theatre attraction.”

Paris Match

'It starts with a stage-wide Nazi flag magically switching into the French tricolore. The Galeries Lafayette scene alone shows how to conjure up atmosphere with the minimum of props — and the fluid scene changes, against fetching video backdrops, keep the action flowing.' 

The Financial Times

"This production is clearly a passionate display of love for the City of Light."