Drawing deservedly packed audiences at the playhouse this
week is Amélie, a touring musical version of Jean-Pierre Jeunet’s 2001 film.
Even though both acts run in excess of an hour, the show has
to take us on a rollercoaster of a ride to pack in so much of the story’s
detail. With some delightful use of puppetry we are whisked through Amélie’s
childhood, as her mother is ‘Squished’ by a falling suicide and her father
builds a mausoleum for her in a garden gnome.
After being captivated by news reports of Princess Diana’s
death, Amélie discovers a hidden box of childhood treasures which she decides
to return to its owner, beginning a quest to perform random acts of kindness
wherever she goes. Along the way she meets Nino, who has been collecting
discarded pictures outside a photo booth. Her friends at the cafe where she
works encourage her to find love with him, although she struggles to overcome
her childhood aversion to opening her heart.
At first glance you might think that Audrey Brisson had been
cast in the title role for her striking resemblance to the character’s big
screen originator Audrey Tatou. However, as soon as she opens her mouth it’s
clear that there are many more reasons that make her perfect for the part.
Brisson, who was seen previously in Liverpool in Dead Dog in a Suitcase at the Everyman, has an
absolutely magnetic stage presence and oozes with charm. Her keen eyes pierce
the air with wonder, and her voice has a bell-like quality that makes every
line sparkle.
But in this musical version of the story the entire ensemble
are crucial to the show’s appeal, and their extraordinarily tight choreography
is wonderfully executed. Stage movement is by Tom Jackson Greaves and musical
direction by George Francis, both of whom were on the team behind the
Everyman’s Fiddler on the Roof and Paint Your Wagon, and together with Michael
Fentimen’s pacey direction they make the time fly past.
Daniel Messé’s music is performed by the ensemble on the
hoof, with pianos swishing about the stage and cellos slung from the
performers’ necks. You can see them playing but it’s all so seamlessly done
that you almost forget they’re not just acting and dancing. There’s an air of
something Celtic blended in with the easy Frenchness of the score, and it
swings along with tremendous energy.
Added to this is a splendidly detailed set by Madeleine
Girling, which takes us from the Metro to Amélie’s apartment via the cafe and a
host of other locations with the help of Elliott Griggs’ nifty lighting.
Leave your troubles and your sense of reality outside the
theatre and immerse yourself in Amélie’s world of magic and wonder for a couple
of hours and you’re sure to leave with your spirits lifted.
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| Images (c) Pamela Raith Photography |
Star Rating: 4 Stars
This review was originally written for Good News Liverpool
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