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”
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”
“If they choose to, the company may dump any man”
The historic walls of Wilton’s Music Hall – the last surviving grand music hall in the world – may be old but they are far from old-fashioned. After their major refurb, the shift into becoming a producing venue has seen them adopt a varied multi-disciplinary programme of comedy and music as well as theatre (look out for the Tobacco Factory’s highly-rated Othello coming soon).
Sadly, their current revival of How to Succeed in Business Without Really Trying – the first major one in this country since its 1963 premiere – falls on the side of the fatally old-fashioned. Director Benji Sperring’s sure touch has seen him work wonders with shows like The Toxic Avenger but here, an inconsistency of tone and performance level means that it sits awkwardly on this august stage. Continue reading “Review: How to Succeed in Business Without Really Trying, Wilton’s Music Hall”
“If you don’t say yes I’ll have a heart attack that will kill us both”
In what I thought was a serendipitous move, I just finished watching American Horror Story: Freak Show before going to see Side Show, but it turned out to be most unhelpful. For not only the connection (seemingly by dress) of conjoined twins Daisy and Violet Hilton with the twin heads of Sarah Paulson’s Bette and Dot pales by comparison, but the darkness of representing a ‘freak’ show is far more suited to the horror genre than this rather anaemic musical.
With book and lyrics written by Bill Russell and music by Henry Krieger (whose Dreamgirls finally arrives in London next month), Side Show has managed two abortive runs on Broadway since premiering in 1997, so it makes sense for Southwark Playhouse to take it on with their sterling record for reinvigorating musical theatre of varying reputations. But despite director Hannah Chissick and producer Paul Taylor-Mills’ best efforts, I’m not sure it is rehabilitated. Continue reading “Review: Side Show, Southwark Playhouse”