{"id":84941,"date":"2015-04-20T15:53:30","date_gmt":"2015-04-20T19:53:30","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=84941"},"modified":"2016-02-29T14:26:23","modified_gmt":"2016-02-29T19:26:23","slug":"coup-de-theatre","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/","title":{"rendered":"Coup de Th\u00e9\u00e2tre"},"content":{"rendered":"

An American in Paris leaps from screen to stage.<\/em><\/p>\n

\"AAIP<\/a>

Robert Fairchild and Leanne Cope. Photo: Angela Sterling. Courtesy of An American in Paris<\/p><\/div>\n

About halfway through Vincente Minnelli\u2019s 1951 film An American in Paris<\/em>, we glimpse a sign: \u00c0 LOUER\u2014APPARTEMENTS STUDIOS DE GRAND LUXE\u2014RENSEIGNEMENTS AU FOND DE LA COUR.<\/em><\/small> We see it in a courtyard through which Milo Roberts, the beautifully appointed parvenue, leads Jerry Mulligan, the scrappy, penurious painter; they ascend a staircase into an artist\u2019s atelier that anyone would dream of. In addition to the essentials\u2014a double-height wall completely of glass, new brushes and paints in every imaginable color, a sturdy easel\u2014the room boasts a marble mantelpiece, fresh flowers, and an enormous sofa upholstered in red toile de jouy. That\u2019s part of the allure of Minnelli\u2019s film: it wrings every drop of naive charm out of the Paris of myth and clich\u00e9. Despite its legendary status, though, the movie\u2019s charms are often enforced with a lead pipe\u2014or perhaps a pipette of the kind geese are fattened with to produce foie gras. I couldn\u2019t help but read too much, then, into that sign advertising rooms for rent. The movie itself can feel like a rented room; there\u2019s plenty of space for someone else to move in, to make it deeper, better, more accomplished. That\u2019s what the new musical on Broadway attempts, and\u2014though not without its longueurs and contrivances\u2014on many levels it has the film beat by a mile. A plot refresher, if you need it: Milo plans to underwrite Jerry\u2019s artistic success\u2014to introduce him around Paris, arrange a show of his work in a leading gallery, and, not incidentally, to canoodle along the way. But Jerry is torn between his painterly ambitions and his affections for Lise (Leslie Caron), a Parisian shopgirl, the daughter of French Resistance fighters who disappeared during World War II, leaving her in the hands of a classy cabaret performer named Henri Baurel. Now that she\u2019s a woman, Henri wants to marry her. Add to the mix one expat classical composer, also competing for Lise\u2019s affection, et voil\u00e0, you have the story, both the long and the short of it. It will come as no surprise that, in the end, Lise and Jerry are in love, and love conquers all.<\/p>\n

The musical\u2019s changes start with the book, by Craig Lucas, which converts the sunshine-bathed picturesque gaiety of the film\u2019s postwar Paris into a history lesson about the aftermath of war. Thus the film\u2019s smiling old ladies in long skirts and sweaters, and smiling children in pinafores and short shorts, and smiling waiters with napkins on their shoulders, and smiling charwomen scrubbing the stairs, and smiling, wimpled \u201cflying\u201d nuns who nod with good-natured tolerance at Gene Kelly\u2019s antics\u2014everyone in the film is always smiling at Gene Kelly\u2019s antics\u2014become, in the musical, a series of verismo panoramas on the deprivations of a city released from Nazi occupation. Lise, though still a shopgirl, is now a trained, aspiring ballet dancer, too, and also a Jew; Henri Baurel and his parents hid her during the war. Baurel pere et mere<\/em>, new to this stage adaptation, are righteous Christians who secretly funded the French Resistance. If their wartime activities are made public, they fear, they won\u2019t be viewed sympathetically by former collaborationists, many of whom still hold power in France. As to Henri\u2014well, he\u2019s in the closet. And what he really wants is to be a hoofer. That\u2019s another concern of his parents\u2019: he\u2019s not exactly le bon ton<\/em>.<\/p>\n

These plot and character points add gravitas to the musical, something notably missing from the film, which contains, among other oddities, an oompah-pah tribute to lovely olde Vienna and a reference to Charlie Chaplin\u2019s Great\u00a0Dictator<\/em>. (What were they thinking?) But the real news about the musical is the choreography and dancing. Not so much the jazz dancing, which is merely acceptable and fills the first act. And not the tap-dancing \u201cStairway to Paradise,\u201d which is a poor man\u2019s tribute to Radio City (as opposed to the film version\u2019s, which features human \u201cchandeliers\u201d\u2014surely a nod to Cocteau\u2014and a self-illuminating staircase filled with fabulously gowned chorines sporting mile-high starched Breton lace headgear). But the ballet dancing: ooh-la-la! Robert Fairchild (Jerry) and Leanne Cope (Lise) are astonishing, and the chemistry between them is utterly believable. Christopher Wheeldon, who both choreographed and directed the show, gives them everything they need to shine, and shine they do in the second-act ballet. That beautiful, demanding, serious composition holds the audience\u2019s attention entirely on the basis that\u00a0the dance alone is a major coup de th\u00e9\u00e2tre, one deserving of the standing ovations it received at the performance I attended. It will certainly become a repertory classic along the lines of Balanchine\u2019s \u201cSlaughter on Tenth Avenue,\u201d which was eventually extrapolated from Broadway onto the high-art stage.<\/p>\n

\"an_american_in_paris_6\"<\/a>

Leslie Caron in An American in Paris<\/i>, 1951.<\/p><\/div>\n

By comparison, Kelly\u2019s choreography is derivative and thin, and his performance is, apart from the technically impressive tapping, mainly mugging and shtick. It\u2019s hard to reconcile that with the integrity of his character in the film. In Jerry Mulligan, Kelly found the signature role of his career, but his strategy, both as a performer and a choreographer, is simply this: take the audience by force. Leslie Caron, on the other hand, is winsome on and off pointe. You want to hug her and wipe away her tears. Inspired by George Gershwin\u2019s composition of 1928, the film won seven Academy Awards, among them best film and an honorary achievement award for Gene Kelly for \u201chis versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film,\u201d though he wasn\u2019t the only choreographer involved in its making. It\u2019s notable in the annals of cinema largely for the wordless, seventeen-minute fantasy dance sequence with which it ends. The costumes for that magnificent showpiece, by Irene Sharaff, and the sets\u2014by Edwin B. Willis and Keogh Gleason, referring to work by French painters such as Utrillo, Lautrec, Douanier Rousseau, Manet, and others\u2014are justly celebrated; they secured Oscars as well.<\/p>\n

Jerry and Lise are an iconic screen couple, and onstage, Fairchild and Cope\u2014accomplished, young, fresh, sympathetic\u2014are more than able to step into their shoes. We wish them well as they wander off into the misty future along the Seine embankment. (Let\u2019s hope that future includes a long run at the Palace Theatre.) Can we say the same, ultimately, of Caron and Kelly? I worry not. As they trip down the stairways of Montmartre, heading off into the night, she\u2019s just one more lovely gal with stars in her eyes\u2014and on her gown, as it happens\u2014who fell for a narcissistic schmuck.<\/p>\n

J<\/em>eff Seroy is senior vice president at Farrar, Straus and Giroux.<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

An American in Paris leaps from screen to stage. About halfway through Vincente Minnelli\u2019s 1951 film An American in Paris, we glimpse a sign: \u00c0 LOUER\u2014APPARTEMENTS STUDIOS DE GRAND LUXE\u2014RENSEIGNEMENTS AU FOND DE LA COUR. We see it in a courtyard through which Milo Roberts, the beautifully appointed parvenue, leads Jerry Mulligan, the scrappy, penurious […]<\/p>\n","protected":false},"author":811,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[21317],"tags":[17816,1942,17820,17818,55,12088,17821,17819,5335,17817],"class_list":["post-84941","post","type-post","status-publish","format-standard","hentry","category-on-dance","tag-an-american-in-paris","tag-ballet","tag-broadway","tag-choreography","tag-dance","tag-gene-kelly","tag-george-gershwin","tag-leslie-caron","tag-musicals","tag-vincent-minelli"],"acf":[],"yoast_head":"\n\u201cAn American in Paris\u201d Leaps from Screen to Stage<\/title>\n<meta name=\"description\" content=\"Jeff Seroy on the new Broadway musical and its well-advised departures from the classic movie.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Coup de Th\u00e9\u00e2tre by Jeff Seroy\" \/>\n<meta property=\"og:description\" content=\"April 20, 2015 \u2013 An American in Paris leaps from screen to stage. About halfway through Vincente Minnelli\u2019s 1951 film An American in Paris, we glimpse a sign: \u00c0\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2015-04-20T19:53:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-02-29T19:26:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"667\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jeff Seroy\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jeff Seroy\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/\"},\"author\":{\"name\":\"Jeff Seroy\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/0e90548b40d3f1378d98ec2d371a1f0a\"},\"headline\":\"Coup de Th\u00e9\u00e2tre\",\"datePublished\":\"2015-04-20T19:53:30+00:00\",\"dateModified\":\"2016-02-29T19:26:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/\"},\"wordCount\":1188,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg\",\"keywords\":[\"An American in Paris\",\"ballet\",\"Broadway\",\"choreography\",\"dance\",\"Gene Kelly\",\"George Gershwin\",\"Leslie Caron\",\"musicals\",\"Vincent Minelli\"],\"articleSection\":[\"On Dance\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/\",\"name\":\"\u201cAn American in Paris\u201d Leaps from Screen to Stage\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg\",\"datePublished\":\"2015-04-20T19:53:30+00:00\",\"dateModified\":\"2016-02-29T19:26:23+00:00\",\"description\":\"Jeff Seroy on the new Broadway musical and its well-advised departures from the classic movie.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Coup de Th\u00e9\u00e2tre\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/0e90548b40d3f1378d98ec2d371a1f0a\",\"name\":\"Jeff Seroy\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/07fb8a65e3333c03e2fadf15b7a5a0a19414b1ccea3254080bdbd9ab4531b444?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/07fb8a65e3333c03e2fadf15b7a5a0a19414b1ccea3254080bdbd9ab4531b444?s=96&d=mm&r=g\",\"caption\":\"Jeff Seroy\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/jseroy\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"\u201cAn American in Paris\u201d Leaps from Screen to Stage","description":"Jeff Seroy on the new Broadway musical and its well-advised departures from the classic movie.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/","og_locale":"en_US","og_type":"article","og_title":"Coup de Th\u00e9\u00e2tre by Jeff Seroy","og_description":"April 20, 2015 \u2013 An American in Paris leaps from screen to stage. About halfway through Vincente Minnelli\u2019s 1951 film An American in Paris, we glimpse a sign: \u00c0","og_url":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2015-04-20T19:53:30+00:00","article_modified_time":"2016-02-29T19:26:23+00:00","og_image":[{"width":1000,"height":667,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg","type":"image\/jpeg"}],"author":"Jeff Seroy","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Jeff Seroy","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/"},"author":{"name":"Jeff Seroy","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/0e90548b40d3f1378d98ec2d371a1f0a"},"headline":"Coup de Th\u00e9\u00e2tre","datePublished":"2015-04-20T19:53:30+00:00","dateModified":"2016-02-29T19:26:23+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/"},"wordCount":1188,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg","keywords":["An American in Paris","ballet","Broadway","choreography","dance","Gene Kelly","George Gershwin","Leslie Caron","musicals","Vincent Minelli"],"articleSection":["On Dance"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/","url":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/","name":"\u201cAn American in Paris\u201d Leaps from Screen to Stage","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg","datePublished":"2015-04-20T19:53:30+00:00","dateModified":"2016-02-29T19:26:23+00:00","description":"Jeff Seroy on the new Broadway musical and its well-advised departures from the classic movie.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/04\/aaip-angela-sterlibg.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/04\/20\/coup-de-theatre\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Coup de Th\u00e9\u00e2tre"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/0e90548b40d3f1378d98ec2d371a1f0a","name":"Jeff Seroy","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/07fb8a65e3333c03e2fadf15b7a5a0a19414b1ccea3254080bdbd9ab4531b444?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/07fb8a65e3333c03e2fadf15b7a5a0a19414b1ccea3254080bdbd9ab4531b444?s=96&d=mm&r=g","caption":"Jeff Seroy"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/jseroy\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/84941","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/811"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=84941"}],"version-history":[{"count":5,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/84941\/revisions"}],"predecessor-version":[{"id":84955,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/84941\/revisions\/84955"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=84941"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=84941"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=84941"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}