Following its opening at the Watermill Theatre, a critically acclaimed sell-out tour in 2019, a highly successful Christmas season at The Other Palace in 2019, a Grammy nomination and 3 Olivier Award nominations, Amélie The Musical arrives in the heart of the West End this summer. Following the government roadmap announcement, tickets are on sale now for a socially distanced audience at the Criterion Theatre from Thursday 20 May. Olivier-nominee Audrey Brisson (The Elephantom, Pinocchio and Pericles (National Theatre), The Flying Lovers of Vitebsk (Kneehigh), and The Grinning Man
(Bristol Old Vic)), will return to the role of ‘Amélie’.
The five–time Oscar®-nominated film will be brought to life once again by a cast of actor-musicians and set to a critically acclaimed re-orchestrated score. With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, Amélie The Musical is directed by Michael Fentiman. The full cast includes Sioned Saunders as Gina, Flora Spencer-Longhurst as Georgette, Rachel Dawson as Amandine/Philomene, Oliver Grant as Lucien/Mysterious Man, Chris Jared as Nino Quincampoix, Caolan McCarthy as Hippolito/Elton John, Samuel Morgan-Grahame as Joseph/Fluffy, Kate Robson-Stuart as Suzanne, Jack Quarton as Blind Beggar, Jez Unwin as Raphael/Bretodeau and Johnson Willis as Collignon/Dufayel. Nuwan Hugh Perera, Miiya Alexandra, Robyn Sinclair and Matthew James Hinchliffe complete the ensemble. Continue reading “Musical news aplenty”
An extraordinary piece of boundary-pushing musical theatre, Preludes is a special delight at the Southwark Playhouse
“Dangling on the melting edge of sleep”
You’d think there would come a point where it barely seems worth mentioning that musical theatre is a genre which contains multitudes, yet the stereotypical image of jazz hands prevails, people so easily writing off ever seeing any musical. I’m not saying that Dave Malloy’s Preludes would be the first choice to try and convince them otherwise, but it would certain shatter their preconceptions.
Malloy’s study of a crucial period in the life of Russian composer Sergei Rachmaninov is startlingly imaginative. Using the hypnotherapy sessions Rach endured in real life, Malloy delves into the realm of all their possibilities, to explore the demons that plague him, the complexity of his creative process, the society that trammels him, endlessly slipping between past and present, fantasy and reality. Continue reading “Review: Preludes, Southwark Playhouse”
“Hey, I never liked it when you cried”
The Howard Goodall season at Sasha Regan’s Union Theatre continues with a revival of what could possibly be one of my favourite new musicals of recent times so no pressure there then. It is a tricky show to get right though, Stephen Clark’s book (from Erich Segal’s original story) speeds through the entire life of this tragic relationship at a relentless pace and so care does need to be taken to ensure the audience is fully engaged from the off and are kept fully onboard throughout.
In some way, the overall approach to Love Story here lacks the kind of propulsive energy that Clark’s book sorely needs. Regan curiously leaves lots of dead space in and around her scenes, far too many moments of awkward silence during transitions which are difficult in such a small space as this – the impact of Jenny communing with the spirit of her dead mother is somewhat muted by the sound of her heels as the ghost walks away… Continue reading “Review: Love Story, Union Theatre”