Amelie at the Ahmanson — Page 2

I, too, saw it last night.

I'd like to contrast some of the opinions posted by stating that Phillipa doesn't shine at all. I didn't get to see Samantha Barks so I can't compare. Phillipa Soo sings well and has learned her lines, but her characterization is quite basic. Where's the nuance? (I had a similar complaint with her portrayal as Eliza: she was quite one-note. Had her performance been taken out of Hamilton's hype context, there's no way she should have been nominated.) Amelie is supposed to, IMO, have an ethereal quality that allows her to connect with her surroundings differently from others. Philippa's portrayal (I also fault the director) has too much vigor with an element of a shy, wounded heart. How in the hell is that different from many other female musical theatre roles in the past two decades? Boring. And once you take out an interesting character, you're left to realize that the plot of Amelie isn't exactly exciting either. There's nothing surprising about Philippa's Amelie as the story unfolds. The problem could also be the fact that the musical medium allows Amelie to sing her thoughts, which makes Amelie appear too "normal" to the audience once she starts singing her desires.

I also thought the staging/design was quite tacky. I get that they were going for the whimsical look, but unlike Matilda, it feels incomplete.

The score was unmemorable. Just because it has an unhummable, non-melodious score doesn't make it the next Sondheim or even Adam Guettel show.

I imagine this receiving mixed reviews on Broadway, picking up maybe 5 Tony nods (with 0 wins) with a run that ends Jan 2018.

I don't think "ethereal" is the right word choice to describe Amelie. Ethereal infers light and delicate, which the character is not.

"Other worldly" might be a better adjective.

Indeed, other-worldly is a more appropriate adjective in my review. Thank you, QueenAlice.



And regarding my nuance comment, I do think Philippa Soo is a very capable performer who can be appropriate for many roles. Amelie wasn't one of them. The clips I've seen of her as Natasha are wonderful and moving. Her performance in Hamilton was adequate, but nothing more. I'd argue that for a performance to be nuanced (an overused, sometimes incorrectly used term these days in my opinion), there needs to be an element of surprise that enlightens the audience with the character's psychology. With Philippa's Eliza, it was predictable and boring. Showing three different emotions isn't nuanced. Performing with restrained heartbreak isn't necessarily nuanced. Same thing with Amelie. But the problem with this production isn't just the actress...

Updated On: 12/5/16 at 07:00 PM

^ Isn't necessarily nuanced.

Ever since I saw it in Berkeley, I never got the complaints about the score. First off there were two songs that I couldn't get out of my head after I saw it, (Not that I am of the believe you need a hummable tune to work). The early song when she introduces you to the cafe and other characters, something along the lines of "This is the sound of going round in circles" and also the song about the painting, the Girl with the Glass, which I thought was such a strong and clever number that really reflected the way Amelie saw the world, and lived through others more more than engaging with it and living for herself. And another song I found to be very clever and strong was the one about the old math paradox about how you could never actually truly reach where you're going because there's always half way to go, another song that I thought was very strong in terms of Amelie's character and giving insight to her beyond her outer shell, I felt it was by far a song that gave more depth to the character, and was a huge part in making the ending of the show more emotional, since it called back to it.

Granted I don't know what the show looks like in its current form, and I pray all those songs I mentioned are still there, because clearly, while for some reason many seem to think the score isn't memorable, they stuck with me, even over a year later.

And I think the differing interpretations and reviews only serve to prove the beauty of theater.

Two people can walk in and see the same show, and while one might be touched and find it a wonderful experience, the other might find it boring and uninspired.

For me, Amelie can only be who she is. I wasn't looking for some profound, or earth-shattering moment from her character, a la Rose's Turn. In fact, the way the show, well, just is, that would have been almost out of place. It would have ruined the impact, in my opinion. For me, the charm came from its simplicity.

Similarly, I wasn't looking for Soo to be over the top in her portrayal of the quirkiness and other-worldliness of the character. Soo played it just right for me. Anything more could have been distracting for me personally.

Now could it have been played differently and be equally effective with another actress? Sure.

Soo felt the character in her own way. The directors, et. al. felt she tapped into the character well, and allowed her to let it flow in the direction she saw fit. And I was good with it personally.

I watched her facial expressions quite closely. throughout and felt she was quite effective in her portrayal. You felt her internal struggles. You witnessed her humanity toward others. But it didn't have to be a baseball bat to the face to make it effective.

Now that being said, was her portrayal a star turn? Maybe it won't be seen that way. Will she garner a Tony nod? Who knows?

At the end of the night though it sure looked like she had a good time up there as she brought her interpretation of the character to life. And it looked like the others were having a grand time as well as they told their stories.

Will it touch all? No. But that's okay too.

What I do know is I found it a pleasant evening in the theater, watching a character who struggles internally with her own insecurities, but still finds a way to make a difference in the lives of others.

The simple smiles. The knowing looks and glances. The interactions her character has with the others onstage are simple. Nothing groundbreaking. But totally effective, in my humble opinion.

I'm not familiar with the Ahmanson. For this show, would side front mezz be better than side rear orchestra? I'm worried about the overhang and acoustics but want to sit as close as possible.

I went with the mezz. Thanks for your advice! Glad to hear you enjoyed the show.

We don't know if she even had the choice, but if she did, I'm guessing she was wanting to move on to new projects.

PerfidiousRaoul said: "Speaking of, anyone think it's strange she chose Amelie over reprising her role as Natasha? Seems like Natasha is a much meatier and more challenging role."

I'm pretty sure I read somewhere that she was offered Natasha, although I can't remember where so don't take my word. If it was that she got to choose, I would think it was a combination of moving onto something new, getting to do the pre-run in LA (where her fiance is filming a TV show) and getting to be the sole lead, title character and main attraction of a show, which is a great opportunity for a 26-year-old musical theatre actress. As for differing opinions on her as an actress, I think it's down to her being subtle rather than showy, which people are probably more used to when seeing musicals. I almost always prefer subtle acting, unless it's a role that calls for it to be otherwise.

Saw it tonight and enjoyed myself a good bit while also left feeling a little underwhelmed. Amelie is one of my favorite films, and I think the show captures some small moments of the film extremely well while missing the emotional heft of others. The direction is very clever, and the cast as a whole is excellent. Soo is, as always, in great voice here. She wasn't as magnetic and intriguing as expected at first but seemed to settle into the role more and more as the show went on.

The biggest issue, though, is the score. It's certainly very modern (ala Fun Home, If/Then, etc), and all kind of... runs together? There are a few really wonderful numbers though, and like I said before, the direction REALLY elevates the material a good bit.

4 of us saw it together-- 3 of us having all watched the movie recently, 1 having never seen it. The 3 of us picked up on a lot of the more subtle jokes and plot points, the other admitted to being pretty confused as to what the actual plot was. I think going in having seen the movie before will improve your experience a good bit.

All in all, a fun night out in LA. I just fear it'll get lost in the shuffle in NYC.

I saw the show two nights ago, and really enjoyed it. It was quirky and peculiar, but whimsical and cheerful. Like others have said, the music did all mesh as one in my brain after the show, and I completely agree with what WestCoast331 said about the score being a la Fun Home. There are many elements to be smoothed out before it goes to Broadway, but I really enjoyed a lot of what they already had. The set is wonderful with everything slightly set at an angle, forcing you to look at things differently just like Amelie does, and the use of projections was phenomenal. I felt that Phillipa did a great job capturing the spirit of Amelie in the movie, especially when she'd turn to the audience with a sly, knowing grin, as the movie character Amelie does. I sat in the back corner of the orchestra (fourth row from the back, all the way on the side) and had a perfect view.

I've never seen the Ahmanson stagedoor so crowded as it was the night I went, but it was very well organized, with everyone lined up down the block. I ran into Steven Pasquale, which was a pleasant surprise (I've heard he's rather elusive but he was nothing but kind!), and Rebel Wilson also came out of the stagedoor. Pippa was incredibly gracious with everyone, taking time to chat and engage with them while signing. She was refreshingly down to earth. I'm told that if you go on a night with very few people at the stagedoor she does take pictures.

Someone asked about the merchandise. From what I remember, they have blue shirts with the logo and Amelie (not Pippa) on them, a pink Gnome shirt (not sure why they're trying to push for the gnomes so much, since it's a very small sub-plot), magnets, and possibly posters? I got a free poster, but it was so flimsy that I'm unconvinced it was something they sold.