Gwen Verdon, in only her second Broadway role, and choreographer Michael Kidd won Tony Awards and were praised, but both the score and book received tepid reviews, and revivals generally have not fared well.

Restaged by Jerome Whyte, the cast included Irene Hilda (La Mome), Edmund Hockridge (Aristide), Alfred Marks (Boris), Gillian Lynne (Claudine) and Warren Mitchell (Theophile).

The St. Louis Post-Dispatch noted "Can-Can opened in dazzling style, reminiscent of the Muny glory days, weaving a magic spell.

"[7] It had a revised book which incorporated songs from Fifty Million Frenchmen, Nymph Errant, Silk Stockings, Out of This World and other Cole Porter musicals.

staged concert production featured Patti LuPone as La Mome Pistache, Michael Nouri (Judge Aristide Forestier), Charlotte d'Amboise (Claudine), David Costabile (Theophile), David Hibbard (Hercule), Michael Goldstrom (Etienne), Reg Rogers, and Eli Wallach.

This production was directed by Lonny Price, Choreography by Melinda Roy; additional musical staging by Casey Nicholaw, with sets by John Lee Beatty and lighting by Kenneth Posner.

Lee and Fields created a back story for the protagonists, tightened the plot, and reintroduced a song that had been cut from the original ("Who Said Gay Paree?").

The cast featured Michelle Duffy and Kevin Earley, and the production received critical praise for Patti Colombo's choreography, Steve Orich's new orchestrations and scenic design by Roy Christopher.

[9] In Paris in 1893, the dance-hall in Montmartre owned by La Môme Pistache, Bal du Paradis, is being threatened with closing by a self-righteous judge, Aristide Forestier.

One of the dancers, Claudine, a laundry girl by day, has been pursued by Hilaire, an art critic, who plans to host an elaborate ball at the club.

He and his dancers are dry and satirical about it, and also enormously expert in their performing...With Gwen Verdon leading the ballets with impudence, recklessness and humor, the dancing is spectacular.

"[10] In a later article, Atkinson, in the New York Times commented: "No doubt the ballet has become the major entertainment medium in "Can-Can" by default.