Since it is the season of goodwill to all men, I’m not going to belabour the point that it is a shame that ‘musicals’ have been lumped together as a category here, whereas the likes of Pinter and Kane got their own specials, whither Sondheim, Herman and Tesori. Still, it’s lovely as ever to stretch back over years of musical theatre productions to see some of Tristram Kenton’s most iconic shots for the Guardian:
Photos: Tristram Kenton
Not too much more to say about Amélie the Musical, now in London at The Other Palace, other than book now for un moment merveilleux
“Will there be time to keep on dreaming once this dream is over?”
In what has felt like an inordinately long year, Amélie the Musical captured my heart a long time ago. It was April to be precise, when this beautiful actor-musician show debuted in the gorgeous intimacy of the Watermill and then as it set off on a UK tour, I couldn’t help but go back a month later for second helpings, which I enjoyed just as much. So could I resist a third trip after a London residency was booked in at The Other Palace? What do you think…?!
First off, it feels great to finally see The Other Palace fulfilling the actual need that exists in London theatre but one which is rarely met, in providing a mid-size home for touring musicals, allowing them to establish a foothold here without the pressures of filling a West End house just yet. It helps that Michael Fentiman’s production of Amélie the Musical was originally conceived en bijou but this just feels like the right home for it, right now. Continue reading “Review: Amélie the Musical, The Other Palace”
As sweet-sharp as a diabolo grenadine, the touring version of Amélie the Musical impresses me at the New Wimbledon Theatre
“Will there troubles?
I don’t know
Will there be sweet things?
I hope so”
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. I adored it at the Watermill but the intimacy there left me wondering how the show would fare in the significantly larger houses to which it will be touring. Turns out I need not have worried.
Michael Fentiman’s production has expanded perfectly to fill the space. A few more ensemble members here, a tweak to Madeleine Girling’s canny set design there, and the show has lost nothing of itself or its kooky Parisian whirl. If anything the actor-muso ensemble’s reinterpretation of Daniel Messé’s score sounds even better than before under George Francis’ musical direction. Continue reading “Review: Amélie the Musical, New Wimbledon Theatre”
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
“Maybe she’s just different”
In a week marked by the heartbreaking sight of Notre Dame aflame, the decidedly Gallic charms of Amélie the Musical arrive to offer a soothing balm. The show – music by Daniel Messé, lyrics by Messé and Nathan Tysen and a book by Craig Lucas – didn’t fare so well on Broadway in 2017 but the creatives, along with director Michael Fentiman, have substantially reworked the material to great effect.
The result is something which cleaves much closer to Jean-Pierre Jeunet’s original film Le Fabuleux Destin d’Amélie Poulain in every inch of its spirit. From singing goldfish to licking stage blood off fingers, Elton John cameos to intimidating figs, there’s a wonderful weirdness to the world created here. It’s no wonder that the introverted Amélie struggles at first to find her place in this hyper-real version of Paris. Continue reading “Review: Amélie the Musical, Watermill Theatre”
This regional UK premiere of Once the musical should see you falling slowly towards Queen’s Theatre Hornchurch in order to book your tickets!
“Raise your hopeful voice, you have a choice”
I’d forgotten just how much I like Once. I saw it a couple of times in its 2013-15 West End incarnation (review #1, review #2) and its atypical subtlety was a big hit for me, particularly in the gentle mood cultivated by Glen Hansard and Markéta Irglová’s music and lyrics. The fact that it isn’t a brassy balls-out West End musical might explain why it has taken a little time for its regional premiere to emerge but mercifully, that time has now come.
For that, we have co-producers Queen’s Theatre Hornchurch and New Wolsey Theatre Ipswich to thank. And director Peter Rowe’s actor-musician production slips into the groove perfectly, as warm and comforting as a pint of Guinness or three in your favourite old man’s pub – and occasionally just as rowdy as well. With Enda Walsh’s book taken from John Carney’s original film, its bittersweetly romantic tone feels perfect as autumn descends. Continue reading “Review: Once, Queen’s Theatre Hornchurch”
“Choke a chicken”
Gruelling Irish dramas seem to pop up with some regularity at the National and Sean O’Casey’s The Plough and the Stars is just the latest to test my patience. The play is considered O’Casey’s masterpiece but given that I didn’t last past the interval of Juno and the Paycock here a few years ago, I didn’t enter the Lyttelton with the highest of expectations.
And nor did it meet them. Howard Davies and Jeremy Herrin’s revival may possess poignant resonance in marking the centenary of the crucial event it builds up to – the Easter Rising of 1916 – but it also feels like it takes a century to get round to it. A large ensemble populate the tenement building at the heart of the community featured here and they all get their chance to have their considerable say. Continue reading “Review: The Plough and the Stars, National Theatre”