A trio of cast recording reviews covers musicals Amélie The Musical, Cases and After You – each one a winner in its own way
“I have always thought I’d see the world”
True story, listening to the cast recording of Amélie The Musical for the first time last summer caused the biggest eruption of tears I’d had all pandemic long. It’s a show I’ve loved from the Watermill Theatre, to its UK tour and thence to The Other Palace, and none of its charm has been lost onto its move onto record here (it has been released on CD as of 1st April). Daniel Messé’s score and his lyrics with Nathan Tysen are charmant in the extreme, embracing the quirkiness of the central character but rooting her in a deep emotional truth of social awkwardness. Audrey Brisson was deservedly nominated for an Olivier and leads the ensemble beautifully, Chris Jared and Caolan McCarthy taking moments to shine too. And I swaer, if there’s another 79 seconds that is as achingly gorgeous as ‘How To Tell Time’, I will manger mon béret. Continue reading “Album Reviews: Amélie The Musical / Cases / After You”
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 Musicalarrive 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”