AMELIE Reviews — Page 3

Newintown answered my query very honestly and (to my thinking) pragmatically. It's easy to forget that an admired actor well known in the NYC community who has two roles under her belt doesn't generate actual dollars that might keep a show up and running. How many people would actually buy seats only because she's in it? Rather than because Soo + X factor (composer, film, story, reviews) = sale. That's my issue: she alone won't push sales, whereas Soo in well received material with (cultural wide) curiosity about it might be. A rarefied, whimsical French film + Soo is a potentially harder sell.

HenryTDobson said: "
Yes, I'm sure if Soo took stage door selfies, this would be running for 50 years or more."

lmao! Especially if Soo doesn't get any other roles and stays with this show for 50years!

Here's a harsh review from Naveen Kumar at Towleroad:

"It doesn’t help that the world of MacKinnon’s production seems like a children’s game of make-believe, and Soo the strangely inanimate doll at its center. Alas, no amount of spirit fingers seem to help. Fortunately, Amélie is streaming on Netflix."

http://www.towleroad.com/2017/04/amelie-broadway/

What a shame to hear about Samantha Barks...she was tremendous in the Les Mis film...you'd think a big project like that could have secured more high-profile work for her.

I think the Deadline review is very interesting. After pointing out the show's flaws, that guy seemed to do a 180 and confess that it had grown on him. Hmm!

Ado Annie D'Ysquith said: "What a shame to hear about Samantha Barks...she was tremendous in the Les Mis film...you'd think a big project like that could have secured more high-profile work for her."

If you ask me, she's been having a more active career than Nikki Blonsky has had after Hairspray. Samantha Barks has done some smaller films, theatre projects, and concerts (she's even got one coming up at 54 Below this July). She's also actually my choice to play Eliza Doolittle in My Fair Lady.

Jeffrey Karasarides said: "Ado Annie D'Ysquith said: "What a shame to hear about Samantha Barks...she was tremendous in the Les Mis film...you'd think a big project like that could have secured more high-profile work for her."

If you ask me, she's been having a more active career than Nikki Blonsky has had after Hairspray. Samantha Barks has done some smaller films, theatre projects, and concerts (she's even got one coming up at 54 Below this July). She's also actually my choice to play Eliza Doolittle in My Fair Lady.



That won't happen Jeffrey.

Not sure how Samantha Barks re-entered the conversation, but my (completely and entirely selfish) hope is that Amélie folds sooner than later, leaving Phillipa Soo available to be our Eliza Doolittle next spring at Lincoln Center. Just my dream

themysteriousgrowl said: "

And to think, Pippa'd probably be the frontrunner, if not a shoo-in, for the Tony if she'd stayed with GREAT COMET.



"

It'd be swell to see her return to the role if Amelie doesn't make it. But we all know that probably won't happen.

Soo is the only thing holding this show together. While it's a good show, it's extremely underwhelming and overrated.

I saw the show in L.A. and quite enjoyed it. Not the best I've seen, but I thought it was charming, and led by a wonderful performance by Soo as the lead. It looks like it won't have a very long shelf life on Broadway though. Which is a shame.

As for the Tonys though....once Midler was announced as Dolly last year, she was already instantly the shoo-in for the Tony, It was hers to lose from the get-go. It sounds like she's wonderful, but she could have put out a performance that was less than its potential, and still got the award. Midler is so big she had instant wiggle room.

As it turns out, it sounds like she's super. So the award is hers. Doesn't matter whether or not Amelie is a hit, or goes by the wayside. Soo, et. al. don't have a chance this year anyway being up against Midler.



themysteriousgrowl said: "

And to think, Pippa'd probably be the frontrunner, if not a shoo-in, for the Tony if she'd stayed with GREAT COMET.



"

Oh, wow. Yes, you're absolutely right, theaterguy. I'm so thoroughly uninterested in Midler and DOLLY! that I keep forgetting it's even happening. The Tony is hers.

ggersten said: "Meanwhile, Amelie ran the Isherwood review as their Sunday full page ad in the NY Times."

Are we sure Amélie ran it, or that Isherwood's new group ran it to sell that they exist?

So my friend and I saw this on Thursday, and while we both admitted that it had flaws, I was utterly invested in the whole thing. As I've mentioned, I see a lot of myself in Amelie, so it was nice to relate that much to a protagonist (the last time this happened for me was at Waitress).

Randy Blair looked like he was having the time of his life as "Elton John," and the nun-in-the-sex-shop scene was a delight. We both really enjoyed "There's No Place Like Gnome," but my favorite song was "When the Booth Goes Bright." Also- I gotta say this- the ensemble in this piece is working their butts off. I don't think they stopped moving for the entirety of the show. It was great to see.

Stage door report: I was really impressed with how fast everybody came out and how gracious they all were. The order was Alison Cimmet, Savvy Crawford, Harriet D. Foy, Phillipa Soo, and finally Adam Chanler-Berat. All in all, we had a really fun night!