Tag Archives: Tom Jackson Greaves

“Amélie” at The Criterion Theatre

This already acclaimed show is enjoying a brief run at one of London’s most beautiful theatres. If you have any doubts about musicals made from movies, then think again. Full of invention and intelligence, Amélie on stage is an escape from the screens we’ve been glued to during lockdown. And I loved it for that alone.

Craig Lucas’ book follows Jean-Pierre Jeunet and Guillaume Laurant’s film faithfully. The quirky touches around the life of the titular French waitress we follow are present. But the adaptation is far from slavish: rising to the challenge of bringing suicidal goldfish and travelling garden gnomes to the stage, Michael Fentiman’s direction embraces eccentricity.

Time is taken over Amélie’s childhood (with a “neurotic and an iceberg” for parents), then on her adventures trying to help others. Oh, and Lady Di’s death features too… leading to a number for Elton John just as brilliantly insane as it sounds. Romance comes later, by which time, thanks to Audrey Brisson’s performance in the title role, a crazy courtship with equally oddball Nino is compelling.

Amelie The Musical 2 Pamela Raith Photography

There are appropriately novel touches in the music from Daniel Messé. The songs echo the show’s obsession with the senses – highlighting sight, smell, touch and taste. A number about figs is ripe to join lists of obscure song subjects. The lyrics, by Messé and Nathan Tysen, go a long way in saving the show from too much sentimentality by being unusually morbid…well, it’s a strategy.

Amélie is not perfect. No man could be good enough for our heroine, but the character of Nino really needs some work (far too dull despite Chris Jared’s efforts). Both score and story try hard to be profound. Too hard at times. We can admire getting Zeno’s paradoxes into a musical, but the treatment is heavy handed. The show’s charm and humour are occasionally overplayed. And there’s a big problem with cod accents… understandable, but nonetheless annoying.

Focusing on Amelie’s dreams and imagination is enhanced by a talented cast that brings her world to the stage. The fact that they are all actor-musicians helps – wouldn’t it be great if everyone carried around instruments in real life? But the ensemble is especially graceful: huge credit to movement director Tom Jackson Greaves and a special mention for Kate Robson-Stuart’s performance. An awful lot gets done with pianos and ’cellos, as instruments form a part of Madeleine Girling’s wonderful full-of-surprises set. And the puppetry by Dik Downey is effective. The result is a pleasant irony – while the show talks about how hard times are for dreamers, Amélie brings dreams to the stage with ease.

Until 25 September 2021

www.ameliethemusical.com  

Photos by Pamela Raith

"Macbeth" at Wilton’s Music Hall

There was bad and good luck for the Watermill Theatre last night with its transfer of Shakespeare’s Scottish play (I’m risking nothing). After just one scene, Lady Macduff needed medical attention – sympathies and best wishes to her. Fortunately, a decision was made to persevere thanks to a member of the audience who was in the production previously. Gratitude to Emma Barclay for helping out – she did a great job. Although the circumstances for reviewing aren’t ideal, it’s only appropriate that I also go on.

So huge credit to the show’s small cast who gave little sense of being thrown by events – their professionalism is commendable. The production is marked out by its youthful appeal and tension (maybe a few extra nerves helped). Director Paul Hart clearly has plenty of ideas and, even if they are a mixed bag, they can be appraised regardless of injuries.

On the plus side, the depiction of the violence in the play through movement is done well (congratulation to Tom Jackson Greaves). The lighting effects, from Tom White, and projections from Louise Rhoades-Brown, are very good. The idea of using actor musicians is always impressive. But the delivery here needs finessing: the songs chosen prove distracting and, more importantly, too many lines are lost in the noise.

Emma McDonald in Macbeth at Wilton's Music Hall
Emma McDonald

If Hart wants a Macbeth that’s brash and bold then he has succeeded. But the consequence is a production that’s overblown and loud. Both leads are strong performers who seem wasted. Emma McDonald’s Lady Macbeth is, frankly, camp – a decision that does not serve the character well, no matter how great her outfits. It’s a shame, since McDonald and her stage husband have great chemistry and fantastic stage presence.

In the lead, Billy Postlethwaite possesses all the magnetism you could wish for as a guerrilla-style soldier with a hipsterish edge. I liked the way this Macbeth is out of his depth when it comes to plotting. But there’s no respite from madness for Postletwaite to work with. The witches (nicely delivered by the whole company) turn him too quickly. Both he and the production are hampered by the conceit of Hotel Macbeth. Macbeth as a rebel and rock star I get, but not a hotelier!

While Lucy Keirl has a good night doubling up as Seyton and Macbeth’s Porter, little else seems achieved by the hotel idea. It’s not the only tweak Hart makes that puzzles: are Macduff’s children really killed? And why is Duncan strangled first? But the abundance of ideas, like the events of the evening, show a company full of spirit. Regards again to the injured Lauryn Redding. Her colleagues displayed a determination the whole ensemble should be proud of.

In repertory with A Midsummer Night’s Dream until 15 February 2020

www.wiltons.org.uk

Photos by Pamela Raith