At its highs, Amélie is very high indeed. It is a shame that there is a frankly unforgivable level of racial homogeneity in the cast...and Lucas has seemingly sidestepped the opportunity to update some of the more questionable aspects of this 20 year old film.
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Nonetheless, much as I admire Amélie’s boho ensemble ethos, its undeniable physical zest, and the company’s determination (assisted by help from the Culture Recovery Fund) to open in the West End at this critical time, I wasn’t quite as bouleversé as I expected.
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If you are nervously venturing back into the West End and looking for something that illustrates the profound imaginative power of theatre, you really couldn’t do better than choose this bittersweet 1990s tale...
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Still, there’s no faulting the musical’s attempt to kindle a bit of happiness, a dollop of romance and a whole heap of joie de vivre.
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It may not be a great musical, or even a very coherent one, but Amélie is undeniably successful as a fanciful Valentine to the City of Light, and, in this iteration, as a celebration of the unbeatable power of live music.
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The show could be tighter and lighter, the music a bit more Gallic, but its unabashed bid to bring joy, promote everyday kindness and rekindle hope couldn’t be more pertinent.
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