Robyn Sinclair Archives - Page 2 of 3

★★★★

“What wins in the end is the magic and the music, the players and the playing, and the escapism and the optimism”

The huge success of the film, “Amélie” in 2001 made an international star of its young, gamine lead; Audrey Tatou who played the waitress in a Montmartre café. Soon, the café itself enjoyed similar popularity, fast becoming a tourist spot on the Parisian landscape. On a smaller scale the same could be said of “Amélie the Musical” and its impact on Audrey Brisson; except that Brisson has already carved out a unique and quirky name for herself on the world stage. From a distance, the two Audreys might bear a resemblance, but up close there is no denying Brisson’s own identity and striking portrayal of Amélie Poulin, the eccentric waitress around whom this whimsical tales revolves.

Audrey Brisson both leads and is led by a truly impressive line-up of actor-musicians. It doesn’t matter if you are familiar with the film. You can instantly detach yourself from any preconceptions as you become immersed in Michael Fentiman’s production that is a perfect mix of reality and imagination. The film’s underlying but overriding narrative is replaced by an ensemble cast who share and celebrate the oddities and enigmas of life. The first musical to reopen in the West End, it is a breath of fresh air that helps us forget the past fourteen months. Like the title character we are urged to look beyond the drab reality into a world of possibilities.

Unintentionally in the spirit of the times, Amélie is deprived of human interaction, stuck in a bubble of loneliness. Whether she created it herself, or whether it was a result of her overprotective, erratic and neurotic parents, she uses the spy glass of her imagination to look around and discover that the world is made up of the same bubbles. Inspired (during a beautifully surreal moment when Caolan McCarthy belts out an elegiac anthem à la Elton John) by the death of Princess Diana, it becomes Amélie’s mission to carry out small deeds that bring happiness and romance to those lost souls. Of course, along the way she falls in love herself, with the photo-booth obsessed Nino (Chris Jared). Her own case is the hardest one to crack.

Daniel Messé’s score evokes the Paris boulevards but sweeps them up into fuller orchestrations that belong in the West End rather than the side streets. It starts with a lone accordion but builds into a sumptuous collection of strings and keys. The atmosphere is more memorable than the melodies, but the magic is sometimes broken by an intellectual grasp of the craft of these musicians as they dance with and swap instruments in perfect time to Tom Jackson Greaves’ clockwork movement.

Another star of the show is Madeleine Girling’s design; with pianos that come together and separate in a seamless waltz – morphing into street markets and sex shops; and lampshades that allow Brisson to show off her aerial background. The eccentric cleverness of the show sometimes threatens to distract the audience; but that is fleeting. What wins in the end is the magic and the music, the players and the playing, and the escapism and the optimism. Which we all need right now – and which is out there for us all to partake in. And “Amélie the Musical” is definitely the place to find it.

Reviewed by Jonathan Evans

Photography by Pamela Raith

A Midsummer Night’s Dream

Wilton’s Music Hall

Reviewed – 29th January 2020

★★★★

“keeps a smile on the face throughout, finding glorious new dimensions and unexpected joyful twists”

With a sprinkling of fairy dust and a liberal injection of soul, the Watermill Theatre’s enchanting version of A Midsummer Night’s Dream will put a spell on you.

This Dream’s a scream – and with its Edwardian setting fits perfectly into Wilton’s Music Hall. The Shakespearian shadows at the heart of this comedy certainly don’t offend and one senses the ghosts of variety past may be smiling in approval.

It is a play performed so often it takes something special to breathe new life into it and director Paul Hart and a bright young company do the Bard proud with a simply staged version that tells the story with clarity and manages to be joyfully creative too.

There’s some terrific doubling and mirroring of roles, several different to the “normal” and sometimes it’s hard to remember there are just ten performers in the Watermill Ensemble such are the quick changes and versatility of the company.

One innovative reflection here is that balancing out the down to earth thespianism of the Rude Mechanicals the fairies are all trampish shadows of some of the great music hall clowns, such as Fred Karno and Charlie Chaplin.

The Athens set (great stripped back design throughout from Katie Lias) appears to be backstage at a Victorian/Edwardian theatre, all ladders and fly ropes, which is transformed into the magical forest by the falling and raising of a red curtain and a beautifully ornate backcloth. The question being suggested is where the melodrama of real life ends and the otherworldly theatricality begins. Tom White’s lighting adds its own ethereal depth.

We are warned in advance that Lauryn Redding, due to play Bottom, is out of action following an accident during a performance of Macbeth, which runs in repertory with this production, and the 11th hour replacement is Victoria Blunt, who has played the role with the company previously.

There is no need to make any allowance for the substitution as this must be one of the best Bottoms ever seen. In what will go down in history as one of the truly great Shakespeare performances, Blunt finds comedy in every single line and action. Her weaver is a bluff and cheerful Northerner, childlike and cheerful, foolish and charismatic. There are some lovely moments where the fellow mechanicals gaze at her in wonder, enchanted by her daft artistry.

It’s a scene-stealing performance of the highest quality, yet such is the skill of the company and the director that it never overshadows the rest. This is exceptional ensemble work with the actors also playing instruments and delivering some pitch perfect albeit wonderfully incongruous versions of songs ranging from Sam Cooke’s Cupid and Jay Hawkins’ I Put a Spell on You to Laura Mvula’s Sing to the Moon. Joey Hickman’s arrangements conjure up moments of magic themselves.

Molly Chesworth is a sprightly and less than deferential Puck, as fed up with the power games of Oberon (a haughtily smooth and sexy Jamie Satterthwaite) as queen of the fairies Titania (a sultry Emma McDonald).

McDonald doubles as Hippolyta who is equally dismissive of her imperious new husband Theseus (Tow Sowinski who, in a clever and wry touch, also plays Snout the tinker, who in turn plays the ill-treated wall in the hilarious Pyramus and Thisbe play within a play) while Peter Mooney tries to keep the amateur actors in order as an enjoyably enthusiastic Peter Quince.

Robyn Sinclair shows off a magnificent singing voice and a talent for comedy as Helena, one of the four unfortunate lovers toyed with by the playful fairies in the forest. The quartet connects exquisitely and is completed by a dashing Billy Postlethwaite (Lysander), Lucy Keirl (Hermia) and Mike Slader (Demetrius).

This reimagined vibrant version of A Midsummer Night’s Dream keeps a smile on the face throughout, finding glorious new dimensions and unexpected joyful twists to this familiar piece that never loses its lustre.

Criterion Theatre

Reviewed – 2nd June 2021

★★★★

“What wins in the end is the magic and the music, the players and the playing, and the escapism and the optimism”

Reviewed by Jonathan Evans

Photography by Pamela Raith

Amélie The Musical

Criterion Theatre until 25th September

Other shows reviewed this year by Jonathan

Wilton’s Music Hall

Reviewed – 29th January 2020

★★★★

“keeps a smile on the face throughout, finding glorious new dimensions and unexpected joyful twists”

With a sprinkling of fairy dust and a liberal injection of soul, the Watermill Theatre’s enchanting version of A Midsummer Night’s Dream will put a spell on you.

This Dream’s a scream – and with its Edwardian setting fits perfectly into Wilton’s Music Hall. The Shakespearian shadows at the heart of this comedy certainly don’t offend and one senses the ghosts of variety past may be smiling in approval.

It is a play performed so often it takes something special to breathe new life into it and director Paul Hart and a bright young company do the Bard proud with a simply staged version that tells the story with clarity and manages to be joyfully creative too.

There’s some terrific doubling and mirroring of roles, several different to the “normal” and sometimes it’s hard to remember there are just ten performers in the Watermill Ensemble such are the quick changes and versatility of the company.

One innovative reflection here is that balancing out the down to earth thespianism of the Rude Mechanicals the fairies are all trampish shadows of some of the great music hall clowns, such as Fred Karno and Charlie Chaplin.

We are warned in advance that Lauryn Redding, due to play Bottom, is out of action following an accident during a performance of Macbeth, which runs in repertory with this production, and the 11th hour replacement is Victoria Blunt, who has played the role with the company previously.

Molly Chesworth is a sprightly and less than deferential Puck, as fed up with the power games of Oberon (a haughtily smooth and sexy Jamie Satterthwaite) as queen of the fairies Titania (a sultry Emma McDonald).

This reimagined vibrant version of A Midsummer Night’s Dream keeps a smile on the face throughout, finding glorious new dimensions and unexpected joyful twists to this familiar piece that never loses its lustre.

Reviewed by David Guest

Photography by Pamela Raith

A Midsummer Night’s Dream

Wilton’s Music Hall until 15th February

Previously reviewed at this venue: