Tony nominee Phillipa Soo returns to Broadway in AMELIE, a new musical based on the beloved five-time Oscar-nominated film, and "an enchanting act of theatrical reinvention" (The Los Angeles Times).
Amelie is an extraordinary young woman who lives quietly in the world, but loudly in her mind. She covertly improvises small, but surprising acts of kindness that bring joy to those around her. But when a chance at love comes her way, Amelie realizes that to find happiness she'll have to risk everything and say what's in her heart. Come be inspired by this imaginative dreamer who finds her voice, discovers the power of connection and sees possibility around every corner. In these uncertain times, Amelie is someone to believe in.
Directed by Tony winner Pam MacKinnon (Who's Afraid of Virginia Woolf?), with a book by Pulitzer Prize and Tony nominee Craig Lucas (The Light in the Piazza) and an original score by Daniel Messe and Nathan Tysen, AMELIE "proves that the world is better when we're all in it together" (Paste Magazine).
At last, a Broadway musical that exposes the bad effects of home schooling. Based on the 2001 French film, 'Amelie' opened Monday at the Walter Kerr Theatre, and its ultra-shy heroine is waifish to the point of being a vanilla wafer. Craig Lucas' confusing book never finds its focus, and offers quite a few beginnings until, finally, the waitress Amelie ('Hamilton' alum Phillipa Soo) watches TV to see the fatal car crash that took the life of Princess Diana.
A dubious quote plastered outside the Walter Kerr Theatre declares, 'It's impossible not to be charmed' by Amelie, A New Musical. While reviewers spend their working lives arguing that all critical opinion is by its very nature subjective, I'd call that fake news. Just as Jean-Pierre Jeunet's popular 2001 French film presented an elaborate fantasist's version of modern-day Paris, bursting with quaint eccentrics, this grating stage musical takes the slenderest of romances and drowns it in cartoonish quirks in place of genuine warmth or feeling. And while Phillipa Soo is a creditable stand-in for the movie's uber-gamine Audrey Tautou, as a musical comedy heroine, Amelie Poulain is a dud, a bundle of cutesy affectations in search of a human core.
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