‘Sort of treat which gives musical theatre a good name’: AMELIE THE MUSICAL – Touring ★★★★

In Musicals, Opinion, Regional theatre, Reviews, Scotland, Touring by Thom DibdinLeave a Comment

Touring– reviewed at the King’s Theatre, Edinburgh

Peppered with emotion and fizzing with energy, the touring production of Amélie the Musical is the sort of treat which gives musical theatre a good name.

Adapted with care from Jean-Pierre Jeunet’s 2001, award-winning French movie, Craig Lucas’ book captures the original’s whimsy and sense of open-minded love of life. Daniel Messe’s music adds an onrushing sense of momentum that only fizzles out at its rather over-extended ending where the point is made long before it has finished being said

This, then, is the Paris-set story of Amélie, the socially awkward child of a neurotic and a germ-phobic doctor, who has an epiphany while watching Lady Di’s funeral – that she will bring good into the world with small but significant (and often convoluted) acts of kindness.

Amélie is played by Audrey Brisson with a real sense of the quirkiness which made Audrey Tautou’s performance in the movie so endearing. She is a character who you want to wrap in your arms to protect, yet who is exasperating in her inability to commit.

Danny Mac has a feeling of the odd-ball to him as Nino, who carries around with him an album of rejected photographs he has picked up from where they have been discarded outside photo-booths. It’s Amelie’s attempts to return this album when it becomes lost that brings them together.

With the remainder of the 16-strong company all singing and playing instruments – including double bass and two cellos – the stage should be cramped. But Madeleine Girling’s clever, multi-layered set design ensured that it only feels that way when it descends into the confines of the Metro.

The set is packed with delights. Amélie’s room is hidden behind a clock-face above the main stage – to which she ascends, Mary Poppins-like, holding on to a shade of a lamp. And two upright pianos transform into, amongst other things, the tobacco stall in the cafe where Amelie works and the dildo display of the sex-shop where Nino works.

The stage is more darkened that lit by Elliot Grace, who pulls off some neat visual illusions to help the narrative while giving the whole thing a decidedly crepuscular feel. This is a twilight Paris of complex possibilities, not a bright and garish sun-washed stage of certainty.

Lucas’s book makes much of coincidence, joining seeming unrelated events together via the random passage of a fly. But like Chekhov’s gun, no coincidence is mentioned by chance – if it’s there in the first scene, you can be sure it will be used by the finale.

Daniel Messe’s music doesn’t have huge memorable tunes, think Five Years but given a Gallic shrug, but it drives the action of this largely sung-though show and the words are intrinsic. Which is why the not always clear delivery of Messe and Nathan Tysen’s lyrics is particularly annoying. Such is easy to forgive, however, given the clarity of most of it.

Director Michael Fentiman whirls his ensemble around the set with tight control. Scenes changing smoothly, every surface having a use and, while many of the company are on stage much of the time, the focus always drawn to where the action is happening.

Puppets

The ensemble have their own fun with a series of initially cartoonish characters who they have the opportunity to enlarge upon. Not to mention using puppets for everything from the young Amelie to Fluffy, her goldfish and a trio particularly vicious, hallucinated figs.

Audrey Brisson and the Cast of Amelie the Musical. Pic Pamela Raith Photography

Individually, Kate Robson-Stuart as a sharp Suzanne, the ex-aerialist who runs the cafe, Johnson Willis an avuncular Dufayel, Amelie’s painter neighbour, Jez Unwin as her father Raphael, who goes from germ-fearer to gnome-nurturer and Caolan McCarthy as Elton John, are all particularly memorable.

But in truth, the company are equally strong in what is a properly ensemble piece. They might have individual characters to create, but they can turn as one to become a chorus of voices and characters who question or mirror the main protagonists.

A slick, clever and hugely appealing production which reveals the heart of the original in a way which the initial Broadway production did not, if the clips of the latter are to be believed.

Running time: Two hours and ten minutes (including one interval)
King’s Theatre, 2 Leven Street EH3 9LQ. Phone booking: 0131 529 6000
Tuesday 25 – Saturday 29 June 2019.
Evenings: 7.30pm; Matinees Wed & Sat: 2.30pm.
Click here to book tickets online.

The original movie, Broadway cast recording of the musical adaptation and vocal selection are available on Amazon. Click images for details:

Amélie on tour 2019:

25 – 29 June 2019
Edinburgh 
Kings Theatre
0131 529 6000
Buy tickets online

1 – 6 July 2019
Bradford
Alhambra
01274 432 000
Buy tickets online

9 – 13 July 2019
Leicester 
Haymarket Theatre
0116 296 1236
Buy tickets online

6 – 20 July 2019
Bristol
Bristol Old Vic
0117 987 7877
Book online

22 – 27 July 2019
Birmingham 
The New Alexandra Theatre
0844 871 3011
Buy tickets online

29 July – 3 August 2019
Malvern
Festival Theatre
01684 892277
Buy tickets online

5 – 10 August 2019
Manchester
Opera House
0844 871 3018
Buy tickets online

12 – 17 August 2019
Bournemouth
Pavilion Theatre
0844 576 3000
Buy tickets online

19 – 24 August 2019
Glasgow 
King’s Theatre
0844 871 7648
Buy tickets online

26 – 31 August 2019
Woking 
New Victoria
0844 871 7645
Buy tickets online

9 – 14 September 2019
Eastbourne
Congress Theatre
01323 412000
Buy tickets online

17 – 21 September 2019
Inverness
Eden Court
01463 234234
Buy tickets online

30 September – 5 October 2019
Southampton
Nuffield Southampton Theatres (NST) Campus
023 8067 1771
Book online

8 – 12 October 2019
Reading
The Hexagon
0118 960 6060
Book online

14 – 19 October 2019
Liverpool
Liverpool Playhouse
0151 709 4776
Book online

Audrey Brisson and the Cast of Amelie the Musical. Pic Pamela Raith Photography (1)

ENDS

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Thom Dibdin
Thom Dibdin has been reviewing and writing about theatre in Scotland since the last millennium. He is currently Scotland Correspondent for The Stage newspaper. In 2010, he founded AllEdinburghTheatre.com. The city's only dedicated theatre website, it covers all Edinburgh theatre year-round - and all theatre made in Edinburgh during EdFringe. Thom is passionate about quality in theatre criticism and is a member of the Critics' Awards for Theatre in Scotland. He tweets from @AllEdinTheatre and, personally, from @ThomDibdin.
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Thom Dibdin on FacebookThom Dibdin on RssThom Dibdin on Twitter
Thom Dibdin
Thom Dibdin has been reviewing and writing about theatre in Scotland since the last millennium. He is currently Scotland Correspondent for The Stage newspaper. In 2010, he founded AllEdinburghTheatre.com. The city's only dedicated theatre website, it covers all Edinburgh theatre year-round - and all theatre made in Edinburgh during EdFringe. Thom is passionate about quality in theatre criticism and is a member of the Critics' Awards for Theatre in Scotland. He tweets from @AllEdinTheatre and, personally, from @ThomDibdin.

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