The Royal Conservatoire of Scotland embraces playfulness in this quirky production of Amélie based on the 2001 French film by Jean-Pierre Jeunet. The piece follows shy, imaginative Parisian woman Amélie (Aida Valentine), who secretly orchestrates acts of kindness to improve the lives of others... while slowly building the courage to pursue her own love story with the eccentric Nino (William Collier).
The production is delightful and distinctive, with eighteen students performing as actor-musician-dancers, clearly showcasing their talents by playing instruments live onstage. Tom Cooper’s vision highlights Amélie and Nino’s atypical differences, bringing beauty to the tender ways they connect. Collier and Valentine's chemistry was beautiful, heart-warming and wholly believable.
Letago Makola is magnetic as the restaurant owner Suzanne, bringing warmth and presence to every moment. Nathaniel Attard and Cerys Devine are hilariously prude as Amélie’s parents. The set left a lot to be desired. It felt a little basic for such a richly whimsical world... functional, but lacking the visual spark the story needs. Nevertheless this was redeemed by the gorgeous use of puppetry, bringing a playful other-worldliness to the piece. There were many to admire, but my favourite is a puppet of young Amélie interacting with her parents, while the present-day Amélie looks on.
There are musical highlights, particularly ‘Goodbye Amélie’, with Gilli Jones delivering an amusing Elton John-inspired turn. However many songs feel like fillers, causing the piece to drag at points. This is especially noticeable in the middle, where momentum dips and the charm has to work harder to sustain engagement.
Overall, it is an ambitious and welcome production, showcasing the immense talent of Royal Conservatoire students. I left charmed by its warmth and creativity, even if it doesn’t always sustain its magic throughout.
Amélie was at the New Athenaeum Theatre until the 20th of March.
Photo: Hope Holmes
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