When one’s expectations of a personally favourite musical (Amélie) previously only seen as a critically acclaimed touring professional show, are extremely high will an amateur production disappoint? Of course there is that risk. Like the risk a trapeze artiste takes in hoping their fellow artiste will catch them mid acrobatic flight. We hold our breath and wait sweaty palmed for the theatrical outcome. Do they fly onwards and upwards to much applause or crash to the circus ring with a bone breaking shudder.
Well they do say break a leg in theatrical circles and Cambridge based Between the Bars proves that with the right material, the right skills, the right applications, and the right guidance – artistic success will come knocking at the stage door. And want to stay.
This week they are presenting a technically tough cookie of a show in Amélie the musical at Cambridge’s top amateur venue the ADC theatre. It needs to be joyous, funny, moving, well sung, and give the audience a slice of Parisian quirkiness and potential romance. Between the Bars do all of this to perfection and demonstrate very laudable French accents without going all Allo Allo. The set design by Matthew Brown with Photo Booth design by Michael Broom are creatively constructed and utilised to best artistic success.
The fabulous music ( MD James Harvey) is live and the musicians are seen on the set and on the stage all the way through. The singing is top notch professional and the ensemble work though harmonies, chorus and movement is exceptional. The direction (Cat Nicol) and movement direction (Frances Sayer) are pin sharp and well executed by a disciplined cast. Above all they all look like they are having a lot of fun onstage and given the happy audience responses tonight this show is a hit with them and this more-than-delighted reviewer. I have come down from Nottingham to see and review this version of Amélie and every second of my visit to this theatre and this production is a pure delight.
There are a lot of people in this cast many of whom double or triple up as the differing characters that Amélie (Ellie Baldwin) meets during her fabulous life voyages from loneliness to dedicating her life to connecting people and strangers on the bustling streets of Paris. They are all excellent.
Baldwin is superb as the quirky sweetheart Amélie Poulain. She has a lot of songs to sing throughout the show, of many different styles and she gives us a very vulnerable portrayal of a high standard that would grace any professional stage. Times may be hard for dreamers but they aren’t so hard listening to her lovely vocals.
As Nino Quincampoix, the guy who makes Amélie’s heart go thumpety thump, Matthew Brown commands the stage with his strong depiction of a very likable photo booth obsessive. Brown’s vocal talents shine as brightly as the Eiffel Tower on full beam throughout.
This review runs the risk of wanting to mention everyone in the cast and every fine moment in the staging, set and props so I will keep to my personal highlights. I love the inclusion of French language voice-overs both before and during the show. The Metro station arrivals and departures announcements really give one the the illusion we are fellow travellers on the sexy French underground train system.
Each of the Deux Moulin bistro workers make their parts individual and clearly glow through their acting and singing. Suzanne (Fran Watson), Gina (Kaat De Backer), Georgette (Emma Vieceli) are brilliant in their group song A Better Haircut.
Andrew Ruddick practically steals the show as full on hilarious Elton John and on a quieter note is very believable as the wannabe poet Hipolito.
One of my favourite songs from the show is the duet between Amélie and the fragile older painter neighbour Dufayel (Warren Clark). The song is The Girl With The Glass. This is performed here with real feeling and credibility.
I am particularly struck by the moving rendition by Kaat de Backer of the poignant song Window Seat and how the artistic direction frames her lost lover Adrien on the upper gantry like a fond memory realised and the release of anxiety brought about by Amelie’s forged love letter.
Some of the roles in this production are really quite fleeting so it is good to see quality actors like Helena Cornu (Lucien) and Philippa Clark (Amandine/Philomene) being utilised creatively throughout.
Overall I will be returning to Nottingham with a very strong impression of the not-so-amateur musical theatre scene and hope to be back at the ADC theatre and the next Between the Bars production. Tomorrow I will pack my case and my travelling gnome and head off home with a head full of Amélie songs.
Photo credit: Paul Ashley
Amélie the musical runs at the ADC theatre Cambridge until Saturday 5th April.
