Amélie, The Musical - The Other Palace

Poor quality photo of Amélie set

Amélie, The Musical is almost guaranteed to warm the cockles of the hoariest of hearts. I left feeling more tender and compassionate towards my fellow humans than when I'd entered.

Based on the 2001 film, this musical was faithful to the film's look, atmosphere, vibe and storyline. Amélie is the story of an idiosyncratic young woman (I'm trying not to use the word 'quirky') who is inspired following the death of 'Lady Di' (said in a French accent) to carry out small acts of kindness that end up impacting their recipients in significant, positive ways. The musical reminds you of the vulnerability/fragility of humankind and to remember to be aware that other people might have things going on in their lives that you don't know about.

It was in English rather than French but contained liberal sprinklings of French, rendered authentic by the French-Canadian origins of Audrey Brisson, who played the titular eccentric.

The music was similar to Yann Tiersen's film score, and was played by the actors on stage. Each actor played an instrument - including Amélie, who played the piano at one point. The music was made extra impressive by the actors whirling around and singing while playing their assorted violins/accordion/cello (the piano was the only instrument not whirled around, although it did move). The songs weren't particularly memorable, in that I didn't have any of them going around in my head the next day, but they suited the story perfectly. I was engrossed from beginning to end.

My favourite part of the Paris metro-styled set was the circular window (clock?), which doubled up as Amélie's flat, to which she effortlessly ascended via a rope/hoist, which was in keeping with her character. Other highlights/viewpoints:

• The puppet of Amélie as a young child, which depicted scenes from Amélie's early life while the adult Amélie moved in synchronisation with it, was poignant and moving.

• The life-sized gnome gaudily recounting its adventures from its travels around the world was a thing of joy.

• I loved the protectiveness of Amélie's café friends/acquaintances/employer, and their keeness for her to find love.

• I think it's a pity Amélie's mum doesn't get a redemption storyline. Her demise and the manner in which it takes place help to account for Amélie's eccentricity...but the oddness of her parents and upbringing by themselves would be enough to account for that.

Next: 42nd Street

Top Hat - Upstairs at the Gatehouse

Fred Astaire, who played Jerry in the film Top Hat

Upstairs at the Gatehouse's front of house nearly refused me entrance. There was some problem with their system, which meant that my name wasn't appearing on their records. I showed them the e-mailed ticket receipt on my phone, but they were determined to find the actual record on their system (which they never found), and insisted that I waited while they checked other peoples' tickets first. As UatG's seating arrangements operate on a first come first served basis, this was irritating. I was finally allowed in, sans apology, and managed to bag a good seat in spite of front of house's best efforts.

Seeing high energy, uber extroverted productions within the close confines of UatG is like watching a musical in your bedroom. You can see (and, in some cases, feel) every bead of sweat, every drop of spittle, every strip of tape holding mics in place on perspiring foreheads. You can't help constantly catching the actors' eyes, so you have to make sure you're always smiling in enjoyment...which generally isn't difficult to do.

This was another show set in the 1930s - 1935, to be precise - complete with art deco set designs. I seem to have seen a lot of 1930s productions at UatG, and will never tire of the costumes and sets. The storyline was simple and highly P.G. Woodhouse-esque, based around a misunderstanding over the identity of the male protagonist, Jerry Travers, on the part of the female protagonist, Dale Tremont, and involving a butler who adopted a number of different disguises. Dale thought Jerry was Horace, the husband of her friend Madge, leading to genuinely laugh out loud moments when Madge appeared to be encouraging Dale to pursue her husband romantically. Joshua Lay, who, incidentally, resembled a younger Daniel Craig, successfully captured the indefatigable exuberance and irritating overconfidence of Jerry Travers. Joanne Clifton, of Strictly Come Dancing fame, was suitably aloof (and rightly so, with Jerry), perplexed and glamorous as Dale. She had some beautiful costumes, including the white swooshy skirt one with (fake?) fur (or was it feathers?).

The humour was quite 'of its era', let me say - apart from the Woodhousian plot/s and wordplay, which were fine, the Madge/Horace plotline involved a lot of somewhat tedious 'isn't marriage awful' banter, and domestic violence against a man was played for laughs...which was discomforting.

The tap dancing was wonderful - I hardly ever see tap, so it was Top Hat's main draw for me. However, while I like seeing these kinds of productions at UatG, I thought, on this occasion, that some of the dancing would've looked better from a distance rather than up close. It amazes me that the front rows of audience manage to walk out without multiple facial injuries every night. Song-wise: it was good to hear familiar songs such as 'Puttin' on the Ritz' and 'Let's Face the Music and Dance' in the context of a show. Not so keen on the yodel-y 'I'm Putting All My Eggs in One Basket', though (not the actors' fault - just don't like the song). The finale/curtain call was one of the best I've ever seen, if not THE best. They did a medley and dance, and the members of the ensemble actually changed outfits JUST FOR THE FINALE. 

Next: Austentatious

photo credit: twm1340 Fred Astaire via photopin (license)

An American in Paris - Dominion Theatre

Paris

As a big fan of George Gershwin, I was excited to finally see An American in Paris, fresh from Broadway. I listened to the orchestral composition 'An American in Paris' MANY times during my teenage years, along with 'Rhapsody in Blue'. [Yes, I was a cool teen. My Gershwin CD was, I think, the first CD I ever bought.] So it was interesting to experience this piece in the context of a musical.

Set in France immediately after the second world war, An American in Paris follows the fortunes of three artistically-inclined young men who become friends, and fall in love with the same woman, a talented ballet dancer. The plot wasn't hugely sophisticated, but it wasn't Julian Fellowes-level predictable, either. It was kind of like a more upbeat, less fantastical version of The Red Shoes - with songs. Both oeuvres being about a love of dance, following your dreams, and romance, and both containing a 'show within a show' ballet. [But yes, apart from that, they are completely different.]

An American in Paris was an extremely easy to watch, fluid, absorbing, uplifting, beautiful show. Flowing like a pure, calming, glittering stream, it was exuberant but somehow more restrained than most musicals - I suppose because of the style of music (the composition 'An American in Paris' plus Gershwin brothers' songs) and dancing (there was a lot of ballet). My favourite pieces were 'I Got Rhythm', 'I've Got Beginner's Luck', which included umbrella twirling and unbelievably rapid costume changes, and good old show tune 'I'll Build A Stairway to Paradise'. And of course, the climactic ballet number, which featured modernist costume and set designs. 

The sets were detailed and gorgeous - lots of impressive Parisian buildings, bohemian cafés and avant-garde 1940s interiors. One of the things I loved about this show was the graceful and creative way in which the performers themselves carried in the props and manoeuvred the sets into place; for example, someone twirling onstage carrying a chair above their head. The props team must have been very on-the-ball in this show, making sure everything was to hand. The costumes were wonderful and there were costume changes aplenty. Elegant New Look-style dresses abounded. Finally: I love the name Milo for a woman.

photo credit: Luc Mercelis Paris, Place Vendôme via photopin (license)

Next: Pygmalion

The Red Shoes - Sadler's Wells

Doll that looks a bit like the protagonist

This was a birthday surprise for me and I got to sit in the FRONT ROW!

The Red Shoes is a new Matthew Bourne ballet, based on a fairy tale of the same name by Danish Master of Melancholy Hans Christian Andersen and, more directly, by a 1948 film. I knew nothing about the ballet's storyline and was slightly nervous it would be depressing both because of HCA's having inspired it and after seeing Bourne's Cinderella, which was depressing - set in London during the Blitz, with a thoroughly mis vibe. However, The Red Shoes was Bourne at his best: intensely atmospheric, joyful, poignant, beautiful, humorous and intelligent.

The Red Shoes is a story within a story, about a passionate, talented dancer who joins a ballet company touring Europe, falls in love, and plays the principal role in a ballet called 'The Red Shoes' (basically, a less macabre version of Anderson's story) after the prima ballerina is injured. It's set in the 1930s and the costumes were wonderful - high-waisted trousers, boyleg swimming costumes on both sexes, headbands...The sets were also excellent. Bourne's productions are so good at evoking strong atmospheres; it's one of my favourite things about them. The 'ballet within a ballet' was shown effectively by a smaller stage on the real stage, with curtains, which was revolved to display either 'onstage' or 'backstage', if that makes sense.

I loved the characterisation in this production; even the minor characters came over as having recognisable personalities. All the tradititional theatrical 'types' were represented in the ballet company: the morose, taciturn director; the flamboyant, impossible to satisfy choreographer; the supremely confident, languid prima ballerina; and the equally confident, somewhat camp principal male dancer (ballerino?). Ashley Shaw as Victoria Page, the wearer of the titular shoes, was exuberant, impassioned and beautiful to watch.

My favourite scenes:

• The Monte Carlo beach scene. The backdrop was a simple, minimalist blue sea design, and watching the dancers cavort happily about in their bathing outfits, tossing beach balls and simulating swimming, was a delight. 
• The performance of 'The Red Shoes'. The set was a stark white 1930s geometrical design - like something out of a dystopian film from that era. I loved the ensemble's fantastical black outfits and dances. The rendering of the story of a pair of enchanted shoes that force the wearer to dance to her death was dramatic and exciting.
• The seedy variety show scene, where the audience could see both the backstage action and what was happening 'onstage'. I felt sad for Victoria Page and her musician lover, Julian (Andrew Monaghan), whose glittering careers had deteriorated. I really liked the latter's story trajectory, by the way. The Red Shoes wasn't all about Victoria's love of dance, it was also about Julian's desire to progress his musical career.
• The sumptuous home of the director, which featured a huge pointe shoe sculpture.

I would highly recommend.

photo credit: Rinoninha 33/52 via photopin (license)

Next: Half a Sixpence

Bend it Like Beckham - Phoenix Theatre

England football shirt

I wonder how David Beckham feels about this musical. It must be amazing to know there's a show running in the West End that depicts you as one of the best and most admired footballers of your generation and (in a more minor way) an object of desire, AND has your name in the title. What's more, this being the progressive, feminist-minded oeuvre that it is, it is the female protagonist, Jess, who sees Mr Beckham purely in terms of his footballing prowess and the gay male character, Tony, who makes (the only?) reference to his physical attractiveness.

Because of such feminist qualities including, most obviously, its championing of women's football - and of course, its exploration of other important issues such as balancing familial/cultural expectations with achieving an ambition, being held back by prejudice etc. - I wish I could say that I loved this musical, but unfortunately I did not. Everyone else in the audience seemed to love it, though, so maybe I wasn't in the right mood. I enjoyed the film very much and just didn't think the story worked as well in musical form.

Good points first: Natalie Dew as Jess was instantly likeable with her open, friendly face and earnest expressions, and completely believable. It was good to see Lauren Samuels of Over the Rainbow fame as Jules. At the risk of sounding humourless, I found Preeya Kalidas' exaggerated south London/Indian accent as Pinky tooth-setting-on-edge irritating. However, I enjoyed all her scenes with Teetu (Raj Bajaj), particularly the engagement party dancing scene near the beginning. Jess's dad (Tony Jayawardena) was very funny in a dry, deadpan sort of way; his understated reactions to the various goings-on provided some of the best humour in the show.

The musical showed more of the parents' perspectives than the film, as far as I can remember. Both sets of parents - Jess's parents and Jules's mum - came across as more sympathetic in the musical. Jules' mum (Sophie-Louise Dann) came across as particularly sympathetic as a single mum anxious to develop a close relationship with a daughter she didn't understand and to whom she couldn't easily relate. Her mistaken belief that Jules was a lesbian made for some very funny moments.

Things I wasn't keen on/didn't think translated well into a musical:

• The football. They did their best to depict the playing of football but the game is ultimately more exciting when you actually see it being played as opposed to simulated with light effects and through dance. 
• The songs. Enjoyable enough while watching the show, but I have not had a hankering to hear them again since. And I actively did not like 'Glorious'.
• It went on for too long. The full Greek tragedy-esque cycle of Jess deciding, after much agonising, not to play football but then playing football and being discovered and then deciding not to play football again seemed to occur at least one time too many.

photo credit: Come on England via photopin (license)

Next: Akhnaten

Legally Blonde - Upstairs at the Gatehouse

Legally Blonde doll

Oh my god, oh my god you guys...if you favour serious, understated oeuvres on the melancholy side with profound messages of global significance, this is not the theatrical piece for you. It was the peppiest, most upbeat, extroverted musical I've ever seen. Magnified by ten because, given the small size of Upstairs at the Gatehouse, we were only centimetres away at all times from the energetic gyrations of the actors.

This musical was a warming burst of sunshine in the middle of dreary winter. The story was the same as that of the film, with a few minor changes. I liked the set, which at first glance was reminiscent of an Inca temple. The grey stone 'temple walls'  on either side of the 'stage' doubled up as the sorority house and Harvard. Audience members sat on either side of the theatre, with the show taking place on a reasonably narrow aisle down the middle, connecting the grey stone walls.

The cast was small - only twelve people - all of whom, other than those playing Elle, Warner and Emmett, played multiple roles. Bruiser was not played by a real dog, sadly. Abbie Chambers made an extremely sweet, appealing, believable Elle, with perhaps a little more 'edge' than that of Reese Witherspoon. Robert Colvin looked exactly right for the smarmy Warner. Jodie Jacobs, as Paulette, was heart-warming, a powerful singer and very funny. It was all highly energetic and fast-moving. I was particularly impressed by the cast's ability to sing while undertaking various exercises with skipping ropes.

I probably preferred the second act to the first. Despite my implications in the first paragraph, of course, this musical does actually deliver some important messages: don't make assumptions about people based on their appearances; you don't have to conform to other peoples' incomplete perceptions of you; support your fellow women in the workplace and life in general; romantic relationships are not the be-all and end-all etc. I loved the bit when Elle is appointed lead lawyer in the case to defend Brooke, and the female interns rally to support her. I also really enjoyed the UPS guy's appearances, the bend and snap sequence and the 'is he gay or European' song. All the court case scenes were extremely funny. I liked seeing the relationship blossom between Elle and Emmett...I couldn't remember the latter from the film at all, which was a bit weird given his prominence in the story.

Things I didn't like so much: in the film Elle's admissions essay for Harvard takes the form of a video, whereas in the musical it's an in-person presentation featuring cheerleaders and flag-waving. I didn't like it - it was too silly to be funny. Plus, I like the fact that Elle gets into Harvard in the film purely on the strength of her LSAT score and video. In the musical she actually tells the admissions people that she wants to get in because of LOVE. There is a fine line between silly-but-funny-and-suspend-disbelief-able and plain ridic, and the line was crossed in this instance. There was also a long bit about Paulette specifically wanting to get together with an Irish man, which I can't remember from the film. This in itself was fine but the Irish dancing part edged over the line. 

photo credit: Casey via photopin (license)

Next: not sure

Secret Cinema - Star Wars

Me as a Starfighter Alliance Corps pilot

This wasn't a 'theatre' experience as such, but it did involve live performances by actors, so I thought it merited a post. I won't go into detail about it so as not to give too much away.

I am not a Star Wars fan. Before going to this event my Star Wars exposure consisted of watching Episode 1 at the cinema and a bit of one of the other films (can't remember which) at home. I don't think we even finished watching the one at home because I got bored. I just don't like things set in space. When given the opportunity to go to this event I was reluctant because I didn't think it would be worth it for me. But I ended up enjoying it a lot. 

One of the first things you do after obtaining your ticket is to complete a short online questionnaire to determine your role in the Rebellion. I got 'Starfighter Alliance Corps', and my partner, who was the driving force behind my going, set about acquiring a suitable outfit for me. The chosen outfit was a second-hand homemade one and was pretty good. I thought the front control box looked a bit primitive until I actually saw the film, and realised that the 'real' ones looked similarly basic. The Starfighter outfit was the most distinctive of the possible costumes.

The Secret Cinema experience involves entering and immersing oneself in the world of the event's theme - in this case Star Wars - before watching the film in question (in this case The Empire Strikes Back). Here are some of my thoughts and recommendations:

• It was definitely worth dressing up. It made the experience a lot more immersive and I have never been given so much respect in my life as when I was dressed as a Starfighter Alliance Corps pilot. One of the actors at the event greeted me with 'It's good to see you again, pilot', while another told me I should congratulate myself.

• When you reach the planet destination I would recommend looking around properly, soaking up the atmosphere and interacting with or at least observing the characters there. It's easy to be seduced by the food stalls and spend too much time queuing and eating. If you're not a massive fan of the films, it's especially important to make the most of this part of the experience because it's probably the bit you'll enjoy the most. There's a lot going on. 

• I discovered that it's 'Han Solo', not Hans Solo.

• My criticism of the experience was that there wasn't any follow-up or continuity on the mission we were supposed to be accomplishing. There was a lot of build-up but it was never fully realised. I may not be a Star Wars fan, but I do like my experiences of this sort to be properly immersive and complete. 

• Spend some time in the bar after watching the film. There was a good atmosphere and music.

Next: Nell Gwynn

Shakespeare in Love - Noël Coward Theatre

Shakespeare & Viola

Vivat Regina! VIVAT REGINA! This was a play version of the film comedy of the same name. It tells the story of William Shakespeare as a youngish playwright (circa 1594), losing his writing mojo and regaining it through the power of romantic love. Having fallen passionately in love with noblewoman Viola De Lesseps, Shakespeare is inspired to write Romeo and Juliet, which he does throughout the play; the themes and emotions in Romeo and Juliet reflecting what is going on in his own life.

I'm a bit sceptical about films being adapted into plays or musicals, as it seems very commercial, a way of making easy money. However, I enjoyed this one very much. It had a different feel to the film, which I also enjoyed. Maybe there was more emphasis on theatrical processes (i.e. auditions, rehearsals etc.) in the play than in the film? Or maybe one just got that impression because the set was made up of wooden balconies, in the manner of those in an Elizabeth playhouse, thereby constantly reminding one of the theatre?

The set was excellent; not only were there wooden balconies, but there were also eight chandeliers with REAL candles in them, which periodically glided down from on high. A luxurious-looking four poster bed with bright red coverings was wheeled on and off. 

Theatre directors and producers, if you truly want your play to evoke a 16th century atmosphere, include stuff like candles, wooden props, sumptuous fabrics and beautiful music made by authentic Tudor instruments. Maybe include the occasional puff of smoke, too. Don't just rely on costumes and acting. WOLF HALL and BRING UP THE BODIES, I'm talking to you. I was able to feel fully absorbed in Shakespeare in Love in a large part because the set enabled me to believe that the action was taking place in Elizabethan London. The excellent seats in the stalls probably helped, too.

The music was great. Beautiful singing by a man with a very high voice accompanied by Tudor instruments.

My favourite characters were Christopher Marlowe (David Oakes, who was also in The White Queen. Say what you will about The White Queen but there were lots of very attractive people in it) and a youthful, bloodthirsty-minded John Webster (Colin Ryan). The portrayal of Christopher Marlowe was similar to my fond imaginings of him: attractive, well-educated, composed and slightly smug. Webster provided the most humorous moments of the play for me. Denied the part of Ethel in the play Shakespeare is writing, he hangs desultorily about the actors during all the rehearsals, silently gurning. 

I liked the idiosyncratic elements of Viola De Lesseps' (Lucy Briggs-Owen) character, but wasn't keen on some of her facial expressions as Thomas. Particularly during the scene where Alleyn (Doug Rao) and Shakespeare (Tom Bateman) are encouraging her to kiss 'Juliet' more ardently. I thought there she went from 'idiosyncratic' to 'idiotic'. Strange, vacant expressions.

One of my favourite scenes was the boat scene, where Viola travels home from a rehearsal as Thomas, and Shakespeare only realises that she is Viola right at the end, when the boatman reveals this fact. It was amusing and touching, and I enjoyed the bucket-sloshing sound effects. I liked the relationship between Shakespeare and Viola. In fact, I got so into it that I forgot that Shakespeare was married, so I was suitably shocked and appalled on Viola's behalf when she discovered this fact.

The play ended with an energetic jig, performed in character, which I appreciated, and a rendition of 'Vivat Regina' as Queen Elizabeth I took her curtain call. This was such an absorbing, entertaining, feel-good play that I was properly disappointed when it was over.

Historical quibble: Shakespeare actually wrote Twelfth Night seven years after writing Romeo and Juliet. However, we can pretend that he started writing it immediately afterwards but that it took him seven years to complete because it was so important to him. There.

Next: The Knight of the Burning Pestle