Amélie - the Musical Review

I have loved Amélie the movie and been obsessed with its soundtrack since the film came out 2 decades ago, so when I first heard that a musical version was in the pipeline, I was elated. However, when catching a teaser trailer online, my excitement came to a crashing halt: it wasn't Yann Tiersen's music! This last year, at the request of some of my students, I looked into the musical again and ended up working on one of the show's duets; I was perhaps not in love with it (yet) but I had gotten over the shock and started enjoying the material. All of this to say that, by the time I walked into the Criterion Theatre in July to watch Amélie live, I had already ran through the whole gamut of emotions!

As mentioned in previous reviews, I am always wary of adaptations, perhaps because what I consider essential to ensuring they are successful is often overlooked. While keeping the story and characters is of course a must, the most important aspect to capture is the feel of the original, even if details are changed. Now, the film is a unique balance of quirkiness and dark humour and offbeat pacing so I was worried how that would translate onstage. But there was no need. The musical absolutely conveys the sweetness and zaniness of the main character whilst expertly bringing us into her inner world. The film's heavy use of voiceovers is beautifully transported into a Greek-choir-like ensemble, the narration now mostly sung and weaved into the narrative. There is not a lot of spoken dialogue in the whole show, which could make it tiring but instead just reaffirms that we are seeing the story through Amélie's eyes. The humour of the original is not only kept but in some places even magnified (I dare you to hear the suicidal fish sing, witness the passive-aggressive phone booth ringing, or watch the garden gnome number without cracking up!).

As for the production, the set pays homage to the green and red tints of the film, cleverly adapting itself to the different story locations; the way the pianos in particular are made part of each scene is inspired. And I don't know many other shows that elicit a gasp and "aaaww" from the audience when part of the set is revealed! It manages to feel intimate yet still capture a whole city.

The cast are solid throughout. I could nitpick and find minor faults here and there, but when every single person onstage is singing, playing at least one musical instrument, and acting, often all three at once, it seems petty to do so! Much like in Come From Away, characters emerge and re-enter the ensemble seamlessly, with usually only a small wardrobe change needed. Having now watched the musical a second time, I am in awe with the display of talent on show and immensely curious about the casting process: does each role have a set requirement of voice part and instrument? Or does the orchestration vary depending on the exact actors onstage? Either way, the richness and luxury that comes from live music being played by the actors is mind-blowing.

The music uses repetition very cleverly, preparing us for future moments and identifying characters. Melodies are deceptively simple with interesting intervals lurking, but the harmony steals the show. Both instrumental and vocal lines take unexpected directions, giving us dissonances that should't work but do. The choral aspect in most of the songs, even when only in small moments, brings a complexity and lushness that is not too common in the musical theatre world. This is undoubtedly an ensemble show, every single member of the cast bringing an essential, inimitable component to the table.

And yet, through it all shines Audrey Brisson, her tiny frame seemingly at odds with her huge stage presence. In a role that is, at least to me, so closely associated with the actress that originated it onscreen, she manages to make it her own and give her Amélie a unique flavour. Brisson is hilarious, endearing, and utterly impossible to look away from. She has a very particular way of singing that could have grated but somehow enhances the role instead, and displays an ease when jumping across her vocal range that is enviable.

After 2 viewings in 3 months, I am smitten and can only wish that Amélie - the Musical returns to a more permanent home in the West End very soon.

Conclusion:  Absolutely! [what's this?]

Amélie - the Musical opened at the Criterion Theatre in May 2021.