Amelie

This was a musical that was completely new to me – based on the 2001 film of the same name (which I haven’t seen either) with music by Daniel Messe, lyrics by Messe and Nathan Tysen and a book by Craig Lucas. It opened on Broadway in 2017, and a transformed production premiered in the West End in December 2019, where the actors themselves provided the musical accompaniment (actor-muso). The story of Amelie is narrated by all of the people in her life, telling how everyone we meet is connected in ways we may not know or understand.

The Set at the back of the stage was a row of shop fronts with five opening doors and windows and 2 staircases, which were all much used. Amelie’s garret apartment was above the shops, to where she frequently retreated and talked to herself. Props were many different types of upright wooden chairs and lots of wooden crates (about 12x24”). Costumes were mostly actor sourced with a few ‘sets’ of ‘specials’ Sound was well balanced although, being an unfamiliar script, I did miss some bits. Lighting was unremarkable – which must mean it was appropriate!

Beth Conlon played the titular role. She was hardly ever off the stage and the gentle heart and soul of the piece. It was a demanding part, and Beth was convincing as the shy and imaginative adult who was somewhat afraid of social contact, having had a lonely and ignored childhood (Grace Lynch played young Amelie as a playful and optimistic girl). Amelie was happy in small pleasures and simple activities. Her father, Raphael Poulain, was rather cold and distant and, having misdiagnosed a heart complaint in his daughter, home schooled her to keep her safe. Rory Jeffers’ portrayal of the man who could not bring himself to be close and touch his child was excellent and rather sad. His wife Amadine (Laoise Carney) was neurotic and, in her longing for a son, had an obvious lasting effect on Amelie. She was killed by a person falling upon her from above. Conor Anderson was Nico, the man to whom Amelie was attracted Working in a sex shop he also had a strange hobby of collecting discarded halves of photostrips, Conor managed to convey the nature of this unusual young man very well. His and Beth’s vocals were ver pleasant and harmonised well.

With almost 30 songs in the show, practically every named character got a storyline and song of their own, which each delivered well. Suzanne, played by Megan McGarry, was a former circus performer and owner of the café where Amelie worked (more of her later). Gina Wells was also a waitress at the café- her role was shared by Suzie McNutt and Caoimhe Ryan but I’m not sure which played her on the Friday I attended. She had great facial expressions and lively personality whereas James Marsden who played neighbour Julien Dufayel - an artist with brittle bone disease – was rather a sad character who kept painting a copy of the same picture over and over again. Gina was strangely helped by Amelie who forged a letter from her deceased husband who had left her for someone else, saying he had always loved her and was sorry he abandoned her. As grocer Collignan, Jonathan Ardis was rather mean to his assistant Lucien (Michael Nevin) who was a simple minded but kind and jolly fellow who took his abuse in good heart. Ethan Haddock played the two roles of Joseph Collard and Bretodeau. As the latter he was encouraged to reconnect with his estranged family when Amelie found and returned his childhood ‘treasure’ box. Ethan showed his excitement over this. After this success Amelie looked for others to help – by taking a blind man (Andrew Johnston) on a descriptive tour of Montmartre; bringing romance to Georgette (Zoe Barr/Katie Rose Williams) and stealing a garden gnome containing the ashes of Raphael’s wife, sending it’s post-cards from travels around the world which persuaded him to undertake the travels he always wanted – with a new friend, the aforementioned Suzanne!

Other characters were introduced along the way – Elton John (Rory Jeffers) who, in Amelie’s imagination sang “Goodbye Amelie” in the style of “Goodbye Princess Di” when she heard the sad news of her death.

This was a comedy highlight from Rory and so completely different to his role of Raphael! Hispolito (Adam Nadine) – a sad unpublished author; Georgette (Zoe Barr/Katie Rose Williams) - a hypochondriac tobacconist; Philomena (Natalie Docherty) who left her cat with Amelia when she went away; Sylvie Legrandin (Niamh Docherty) and the Narrators (Marissa McKittrick & Ciara McLoughlin) - with the Ensemble they all opened the show in a novel choregraphed number “The Flight of the Blue Fly” where they all tried to swot a fly, to illustrate how everyone we meet is connected in some way! The whole cast was constantly on stage, in synchronised movement and bringing chairs and other props on and off – a Kerry Rodgers signature and one that I would recommend to other directors.

This quirky love story was beautifully directed by Kerry Rodgers. Her view was that it was about connection, kindness and finding the courage to be vulnerable - in which I think she succeeded. The choreography by Michael McEvoy was energetic, innovative and very well taught. Adam Darcy’s musicians enjoyed the challenge of a new score and were well controlled and balanced with the stage. I was very interested to read the words of the libretto afterwards which were sometimes nonsensical and sometimes full of meaning. With little spoken script most of the story is told in song and all the vocalists were well up to the job.

I will remember this show for a long time and the huge amount of work invested in it. My thanks go to everyone involved.

Sheelagh Hobart
NODA Regional Representative for Ireland

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