Le cirque de l’amour
In a period of transformational change eccentrics and oddballs come into their own, their foibles and idiosyncratic behaviour the perfect antidote to restrictions and curfews. For most of the time they live in a world of their own creating scenarios which seem very strange to us mere normal mortals. So it is with Amélie (Criterion Theatre), a cute and quirky musical adaptation of the 2001 film. Amélie Poulain, a Parisian waitress wanders around her beloved home city searching for the next wacky episode with humanity, encountering a range of eclectic characters along the way who she tries to mould and manipulate into an understanding of her ebullient universe. You may get lost along the way but that is part of the attraction of Michael Fentiman’s childlike and kinetic production.
The event that triggers Amélie’s search is the car crash that killed Princess Diana in 1997. This, somewhat bizarrely, then again Lady Di did impact people in all sorts of ways, is the catalyst for her setting off to find the person who owns the box of toys she recently discovered hidden away in her flat. It has the feel of a Hans Christian Andersen fairy tale and in Audrey Brisson it has the ideal actor to interpret the role bringing a physicality and Gallic charm to Amélie that is enchanting. Even without having read the programme notes it was immediately noticeable that she had the demeanour and movement of a circus trained artiste so it came as no surprise that she spent time performing with Cirque du Soleil. Small in stature her charisma and presence light up the stage as she flits about like a little girl having fun in the Parisian madness, her awkwardness and mood swings demonstrating an underlying unhappiness.
The characters encountered are a colourful bunch including an Elton John lookalike who sings at Amélie’s imagined funeral. Another episode of a deluded soul living her life vicariously through others. Much more France’s lovely lily than England’s rose. All sorts of other odd bods hang out at the bistro at which she works and during one scene, encouraged by an animated Amélie a rotund plumber makes out with a delightful Madame in the boudoir. The cast of actor musicians are a talented company who switch character and instruments with consummate ease. Her gnome obsessed father played by an excellent Jez Unwin makes you understand why the rejected daughter has turned out so deluded and dejected. Obsessives are a constant in her life and she falls in love for photo booth wackadoo Nino. The final silent moments as they express their desire for each other are beautifully moving and sweet.
Creatives Craig Lucas (book), Daniel Messé (music and lyrics) and Nathan Tysen (lyrics) have done a fine job in adapting the eccentricities of the film which works in places but the self deprecating undertone is sometimes a little too smug. The music and theatricality is initially engaging and quirky but loses its likeability as the production outstays its welcome. Top marks however go to Madeleine Girdling’ gorgeously crafted design which evokes Parisian café culture and the playfulness of nonconformist life. Upright pianos act as bookends and contain all sorts of props and gadgets and at one point they light up to reveal a cabinet of luminous wobbling dildos. The lampshade that regularly lifts Amélie up into her apartment is a nice touch adding an extra dimension of a child at play in an adult world which she finds difficult to navigate. And the moral of the story? Love is all you need.
Meanwhile, Iasonas Goodenough is in musical heaven…
Last Friday’s matinee concert at The Royal Festival Hall was a gem. The Philharmonia’s first live London concert for over a year and also Esa-Pekka Salonen’s last as the orchestra’s Principal Conductor. The programme featured Beethoven (First Symphony), Stravinsky (Symphonies of Wind Instruments) Sibelius (Symphony No. 7) and Liszt (Piano Concerto No. 2). Pianist Yefim Bronfman interpreted the Liszt magnificently with beautifully crafted playing bringing out the richness and colour of the melodic phrases. Beethoven’s First Symphony and Sibelius’s last stand at opposite ends of the Romantic era. Both were revelations to me and listening to the Beethoven showed how he began to redefine what a symphony could be. The Stravinsky, in complete contrast, provided an altogether ethereal sound. Salonen conducted with spirit and nuance giving the socially distanced audience an afternoon delight.
Amélie, The Musical – www.criterion-theatre.co.uk
The Philharmonia – www.philharmonia.co.uk/whats-on
Barney Efthimiou
