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.
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.
Amélie The Musical, an adaptation of the much-loved 2001 award-winning film Amélie, will have its UK stage premiere at the Watermill Theatre in Newbury from 11 April to 18 May 2019, and then embark on an extensive UK tour from 20 May.
In Michael Fentiman’s strictly period production, it’s hard to see what we’re meant to care about, and what is supposed to resonate with us. It’s a pleasant enough thing, but there’s nothing particularly groundbreaking about it.
Michael Fentiman’s production of Oscar Wilde’s beloved comedy is the final production in Classic Spring’s year-long Oscar Wilde season, running until 20 October 2018 at the West End’s Vaudeville Theatre. Here’s what critics have been saying about it…
Classic Spring’s Wilde Season has been a huge success and this is a joyous, irreverent and enjoyable production to finish the run.
The Importance of Being Earnest at the Vaudeville Theatre is great fun. Though I can’t think what Oscar’s audience would have said about Algy pinching Jack’s bum.
Classic Spring has announced that Fiona Button (Cecily Cardew) and Stella Gonet (Miss Prism) have been cast in Michael Fentiman’s The Importance of Being Earnest at the Vaudeville Theatre (20 July to 20 October 2018, press night is 2 August), with Pippa Nixon replacing Sinead Matthews as Gwendolyn Fairfax.
Classic Spring has announced that Olivier Award winner Sophie Thompson will play Lady Bracknell in The Importance of Being Earnest at London’s Vaudeville Theatre (20 July to 20 October, press night is 2 August).
Filth, farce and absurdism are individually difficult to pull off so combining all three in a ripely uncensored 50th-anniversary version of Joe Orton’s Loot is high risk, but when it works it’s excellent.
The corpse is the talking point and to some extent the star. Certainly, Anah Ruddin, hopping out of the coffin spry as a fox for the curtain call.
Anniversary revival of Joe Orton’s black farce about money and death is a delight from start to finish.
What the production does do extremely well is highlight the comic values of the script, with many lines being delivered with perfect comic timing by a very capable cast.
Celebrating the 50th anniversary of Joe Orton’s darkly comic masterpiece Loot, the Park Theatre’s forthcoming production of the play has announced initial casting news, with Calvin Demba, Sam Frenchum and Sinéad Matthews joining the company.
Ian McKellen and Ian McDiarmid headline Park Theatre’s new winter 2017 season, which also features a never-before-seen play by Kevin Elyot and revivals of Daisy Pulls It Off and Joe Orton’s Loot.
There’s a madcap edge to David Spicer’s new comedy that spoofs so much of modern England.
Stephen Boxer is Gerry Duffy, a middle aged frog farmer who’s been supplying amphibians for dissection in schools for years, but who recently has become the target of animal-liberation activists.
Raising Martha is a production that has been hit by various casting changes, firstly Morgana Robinson was replaced by Game of Throne’s Gwyneth Keyworth and in a less high profile change Jasper Britton was replaced by Stephen Boxer. The production hasn’t suffered for it.
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