With his fascinating rhythms, George Gershwin bridged the divide between the concert hall and popular entertainment – and no more so than in his orchestral work An American in Paris, later made into a famous film.
Deborah Jones talks to leading classical dance-maker Christopher Wheeldon, as well as members of his creative team and dancers, about reuniting ballet and Broadway in his musical theatre version.
In his thrilling book on 20th-century music, The Rest is Noise, music critic Alex Ross writes that George Gershwin “led at all times a double life: as music-theater professional and concert composer, as highbrow artist and lowbrow entertainer, as all-American kid and immigrants’ son, as white man and ‘white Negro’”.
Gershwin, who started out...
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