Fentiman’s witty and inventive production flows, seemingly effortlessly and thrives on group energy. Under Michael Fentiman’s direction, they harmonise in every sense and generate a compelling sense of community. Leading the company, Brisson and Jared are excellent, but this is an ensemble piece for 16 multi-tasking actors/singers/musicians. Various stories intertwine, leading to multiple redemptions and Amélie herself moves along a path towards romance with Nino (Chris Jared). She is a naive fantasist who embarks on a plan to perform extraordinary acts of kindness to others. After being whisked quickly through her backstory, we find Amélie in 1997, a waitress in a Parisian restaurant. Her father has more time for a garden gnome than for her. There are no Eiffel Towers to be seen in Madeleine Girling’s split-level set design which eschews the obvious, but, when lit dimly, looks more like a crypt at Notre Dame than a vibrant cityscape and seems somewhat at odds with the feel good mood of the show.Īmélie Poulain (Audrey Brisson) is a shy young lady from a dysfunctional family. Drinks can also be delivered to seats, perhaps giving us a preview of luxury theatregoing in the future. The show is now making its West End debut at a theatre in which alternate rows of seating have been removed, such a blessing for those of us who are slightly long of leg. Based on Jean-Pierre Jeunet’s hit 2001 film Amélie, this musical is set in a romanticised version of modern Paris which bears only a passing resemblance to the reality lying little more than a couple of hours away on Eurostar.įrench-themed musicals do not have a bad track record and this one was seen briefly in London before the pandemic. The statue of Eros guards over the entrance to London’s Criterion Theatre and gives a fitting clue to the air of the show that has now taken up residence inside.
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