Tony nominee Phillipa Soo returns to Broadway in AMELIE, a new musical based on the beloved five-time Oscar-nominated film, and "an enchanting act of theatrical reinvention" (The Los Angeles Times).
Amelie is an extraordinary young woman who lives quietly in the world, but loudly in her mind. She covertly improvises small, but surprising acts of kindness that bring joy to those around her. But when a chance at love comes her way, Amelie realizes that to find happiness she'll have to risk everything and say what's in her heart. Come be inspired by this imaginative dreamer who finds her voice, discovers the power of connection and sees possibility around every corner. In these uncertain times, Amelie is someone to believe in.
Directed by Tony winner Pam MacKinnon (Who's Afraid of Virginia Woolf?), with a book by Pulitzer Prize and Tony nominee Craig Lucas (The Light in the Piazza) and an original score by Daniel Messe and Nathan Tysen, AMELIE "proves that the world is better when we're all in it together" (Paste Magazine).
Soo, looking stunning, gives a winning, seemingly effortless performance, and there are nice supporting turns from Adam Chanler-Berat as Amélie's sensitive crush and Tony Sheldon as her elderly neighbor. As directed by Pam MacKinnon (who is better known for dramas), the production attempts to capture the film's distinctive color palette and freewheeling qualities on its own relatively simple terms. With narration by the actors and makeshift costuming, you get the sense the cast is telling a fairy tale through improvisation. You appreciate their hard work, but it doesn't really come together. The film benefitted from incredible art direction and zooming cinematography that is lost here. The show may have been more effective in an intimate venue that could immerse the audience in this cozy and offbeat world.
...Which brings us to Soo. No surprise to those who know her from Hamilton or the pre-Broadway versions of Natasha, Pierre and the Great Comet of 1912, she's effortlessly lovely and a superior singer. But traits that have helped her bring Eliza and Natasha to life - simplicity, transparency - can't do much for Amélie, who remains, like the girl in her neighbor's forever-unfinished Renoir, an outline of a figure at the heart of the story. All of Soo's skill, and all the craft of the authors, have produced this final paradox: The more Amélie is revealed, the less we see. Like its title character, Amélie is a show that has very nearly willed itself into obscurity.
2015 | Los Angeles |
Berkley Rep World Premiere Production Los Angeles |
2016 | Los Angeles |
Center Theatre Group Pre-Broadway Engagement Los Angeles |
2017 | Broadway |
Original Broadway Production Broadway |
2021 | West End |
West End Premiere West End |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2017 | Drama League Awards | Outstanding Production of a Broadway of Off-Broadway Musical | Amélie, A New Musical |
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