Amélie The Musical will transfer to London’s The Other Palace from 29 November 2019 to 1 February 2020 (press night is 3 December), following its current UK tour and its season premiere at the Watermill in Newbury in April.
Amelie is 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.
Amelie The Musical oozes Gallic charm from Daniel Messé’s evocative music to the enchanting performance of its luminous star, Audrey Brisson.
As sweet-sharp as a diabolo grenadine, Amélie the Musical has lost none of its inimitable charm as it gears up for a considerable UK tour.
The cult French film Amélie has been on a long journey to get to the UK and it’s finally set down here for a shortbread-box-sweet tour which captures the whimsy and delight of the film wonderfully.
A sensational adaptation of the film, Amélie the Musical completely captures my heart – see it now at the Watermill Theatre and then touring across the UK.
Amelie is a magical show; with puppets, flying lampshades, a singing gnome and terrifying figs. I couldn’t fault it, and judging from the audience reaction, they couldn’t either.
French-Canadian stage and screen star Audrey Brisson will play the iconic altruist Amélie Poulain in the UK stage premiere of Amélie The Musical, an adaptation of the much-loved 2001 award-winning film.
What is a national theatre for? You’d be forgiven for answering ‘complaining about’ given the amount of sniping regularly aimed at the institution. But with the launch of Public Acts, the National Theatre’s new national initiative, you feel that they’ve alighted on the answer.
Any number of shows could have been included in this post; frankly it’s ludicrous that I decided to stick with my whole top 12 idea… As I’ve seen about 90 more individual shows than last year.
You know what time of year it is – so I’ve just been through my annual Mind the Advent countdown! As I’ve seen a personal best number of different shows this year, the sheer volume of actors (and performances) have really been stacking up and making my life difficult – in terms of summing up my favourites of the year, that is. So here is a bit of a sneak preview of what’s to come in my highlight posts…
Award-winning John Tiffany directs, bringing to life a show that has been in his thoughts for several years now – he’s joined on the team by long-standing collaborator Bob Crowley, as well as Toby Olié as puppet director.
No matter the weather, as you walk into the Lyttelton’s auditorium for Pinocchio, you’ll find that it is snowing. A simple trick but one that inspires just the right childlike wonder for an adaptation of such a popular fairytale.
This is a magical, heartwarming production which uses a variety of theatrical devices in the purest and most masterful way. I’d certainly urge you to get to the National to experience it for yourself and be reminded of the importance of love and family.
La Strada is definitely the musical which I have been most pleasantly surprised by so far this year. I am a fan of going into shows without looking them up first and I went into The Other Palace with no idea what to expect; thinking I was going to see a cabaret, vaudeville like circus show but that was absolutely not the case.
Most reviews of La Strada will doubtless start with a potted history of the film but I have to be entirely honest with you and say that despite its illustrious Oscar-winning status, it’s not one that has ever crossed my path.
Written by Carl Grose and directed by BOV AD Tom Morris, The Grinning Man is a deliciously dark fairytale of a show, sharing DNA with the likes of Kneehigh and The Light Princess in its theatrical playfulness and musical complexity.