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Amelie
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74

Amelie NYC Reviews and Tickets

74%
(781 Reviews)
Positive
70%
Mixed
24%
Negative
6%
Members say
Quirky, Delightful, Great singing, Entertaining, Enchanting

About the Show

Based on the beloved 2001 Oscar-nominated movie, this new musical stars Phillipa Soo ('Hamilton') and is directed by Tony winner Pam MacKinnon ('Who’s Afraid of Virginia Woolf?').

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Member Reviews (781)

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67
Entertaining, Disappointing, Fluffy, Confusing, Ambitious

See it if It is missable. There's a sweetness for sure. Soo and Chanler-Berat were great. But if I hadn't seen the movie, I would have been lost.

Don't see it if You want a thorough, cohesive show. Or if you haven't seen the movie. Score is unmemorable.

60
Banal, Disappointing, Sweet, Childish

See it if you want to see the delightful Phillipa Soo and a happy ending.

Don't see it if you are expecting an absorbing, grown up musical and a good score. The play seems geared to a teenage audience, which was very unexpected.

Critic Reviews (64)

April 3rd, 2017

"It is pleasant to look at, easy to listen to and oddly recessive. It neither offends nor enthralls...'Amélie' the musical seems to have no nationality, or sensibility, to call its own...All credit to this show’s creative team, overseen by the director Pam MacKinnon, for giving coherent life to a tale that exists as much in Amélie’s imagination as in anywhere else...That the show’s creators are aware of the potential dangers of cloying cuteness probably accounts for its seeming so subdued."
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April 3rd, 2017

"During this promising but never delivering musical fantasy, you can easily (and frequently) dream up ways the creative team might have better turned the 2001 film into a stage event that didn’t cloy and harden into static quirk halfway through...Book writer Lucas and songwriters Messé and Tysen are at pains to articulate a singable emotional center of the source while staying true to its careening, cinematic narrative. The two duties ultimately cancel each other out."
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April 3rd, 2017

"Amélie the character and thus 'Amélie' the show remain alluringly, maddeningly remote...When a narrative is held together by tone instead of the working out of interpersonal conflict...there’s no bright line between what’s pertinent and what isn’t...As a result, MacKinnon’s staging, which has little choice but to underline the aesthetic, develops a bad case of nonspecific where-the-heck-is-this?, often leaving the audience more amused than informed."
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April 3rd, 2017

"This grating stage musical takes the slenderest of romances and drowns it in cartoonish quirks in place of genuine warmth or feeling...Moments that don't cry out to be musicalized get slathered in song, while others where music might have helped go unsung...With more swinging doors than most farces, this is a show that manages to be simultaneously frenetic and inert...The talented cast fights a losing battle to give these annoyingly artificial characters life."
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April 3rd, 2017

"The show is a quirky-sweet creampuff that breezily imports much of the original’s off-kilter charm, even as it inevitably loses some of its je ne sais quoi...MacKinnon keeps it all moving along briskly, winnowing down the movie’s sprawl to theater-size and making room for fresh flights of fancy...If any one thing feels lost in the transfer from screen to stage, it’s the pathos that pinned the film’s whimsy to steadier ground."
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April 3rd, 2017

"It’s almost mandatory to have seen the movie if you hope to follow the erratic events of Craig Lucas’s twee book...Soo's lovely voice isn’t enough to animate the character...As listlessly played by Adam Chanler-Berat, Nino is a case study in vapidity...Messe’s music is emphatically insipid, with zero flavor of Paris, and the songs keep landing in awkward moments...In the end, it’s just wearying, looking for some logic in all this relentless whimsy."
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April 6th, 2017

"It is clear how little concern there is here for the wry Truffaut-esque wit of the 2001 film...The musical is so full of stage business that the main impression is of tumult, which is more evocative of Times Square than Paris...There are so many misjudgments of taste and style in the first two-thirds of the show that I was becoming immensely sympathetic to Amélie’s desire to avoid excessive human contact...Most songs were bland and mildly tuneful."
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April 3rd, 2017

"I had the luxury of seeing 'Amélie' twice, and I admit to finding its charms more readily revealed on second viewing, The score, for one thing, is more sophisticated than a single hearing suggests, and perhaps more cunning...The authors, along with MacKinnon, avoid gratuitous winking, trusting both 'Amélie' and Amélie to work their charms. You’ll buy it, or you won’t. By the end, I was a bit in love, even if – as so often is the case with the real thing – it wasn’t at first sight."
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April 3rd, 2017

"Deeply disappointing...It's so painful to watch the very determined Soo, who is both an exceptionally capable actor and completely miscast here...The director needed to help Soo find a completely different path, but then there's not a lot of evidence here of a viably engaging theatrical path for this show overall, never mind one that Soo could herself take in...It's both afeared of the movie, trying to break away without quite knowing how, and ever more trapped within its memory."
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April 3rd, 2017

"The Broadway musical adaptation is simply pleasant—at least when it isn't plodding...Virtually all signs of Frenchness are gone in director MacKinnon’s staging...Soo is lovely and her crystalline singing has every bit as much pull as Tautou’s big brown peepers. If only Messé and Tysen had given Soo something outstanding to sing...'Times are hard for dreamers,' the heroine observes. The same goes for audiences dreaming that this show would transcend, or even match, the movie."
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April 3rd, 2017

"Soo, looking stunning, gives a winning, seemingly effortless performance, and there are nice supporting turns from Adam Chanler-Berat as Amélie’s sensitive crush and Tony Sheldon as her elderly neighbor...You appreciate their hard work, but it doesn’t really come together...The soft pop score occasionally sounds pretty but is mostly unmemorable and derivative...The episodic structure leaves little in the way of advancing the plot. It’s got plenty of charm, but that only goes so far."
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April 4th, 2017

“There really is just one reason to see the musical, and that's lead actress Phillipa Soo…She is effervescent and quite lovely...But all that and a pristine voice does little to salvage this misfire of a show. From the music to the staging to the cartoonish set design, it reeks of well-intentioned children's theatre…It's a deliberate conceptual style, but on that very big Broadway stage, it just seems amateurish…The talented performers are undermined by a diet of forced preciousness.”
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April 3rd, 2017

"A tepid take on a much bolder film. Suffering from a derivative score, it features a main character who doesn't seem fully present in her own story...Director MacKinnon does capture the playful editing of the movie with her cinematic and inventive production..Not an unpleasant way to spend two hours; it's just not that memorable. Between its blandly whimsical score and inoffensively quirky love story, we cannot shake the feeling that we've seen this show before."
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April 5th, 2017

“MacKinnon enhances the quirks of the oddball text, set to Messé's indie-style music, with a delightful array of surprising, slightly surreal visuals applied with a strong hand that keep the whimsy from floating out of control. Which is fortunate, because 'Amelie' tends to meander about a bit when it comes to storytelling and song placement…A low-key charmer. Phillipa Soo plays the young Parisian introvert with sly intelligence that welcomes you to her improvisational life.”
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April 12th, 2017

“There's one indisputably great thing about ‘Amélie,’ and her name is Phillipa Soo…A faux French frolic that consists of nothing but the frothiest conceits and allegedly adorable oddballs, all tethered to a plot so inconsequential that a meringue would weigh it down…The songs often feel as skittish as Amélie…In its overreliance on a general mood of winsomeness, it can be something of a trial to sit through.”
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April 3rd, 2017

"Phillipa Soo is loaded with charm and knows how to use it to make the new musical 'Amélie' something more than it could ever be on its own...But Soo's shimmering central presence only amplifies the troubles around her. Bookwriter Craig Lucas, composer-lyricist Daniel Messé, lyricist Nathan Tysen, and director Pam MacKinnon may have been ultra faithful as far as the letter in escorting this quirky movie to the stage, but the underlying spirit is nowhere to be found."
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April 3rd, 2017

"Soo almost single-handedly transforms this sugar-rich, gossamer adaptation of the popular French movie into an emotionally rewarding evening...The show does not condescend to the material, instead choosing to embrace its assorted oddities full-heartedly, even adding some of its own...MacKinnon’s status as a relative newcomer to musicals reveals itself in the somewhat cramped staging...Fortunately, front and center for most of the musical’s modest duration is the luminous Soo."
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April 10th, 2017

“Written by Broadway veteran Craig Lucas with songs by Daniel Messé and Nathan Tysen, ‘Amélie’ screams Off-Broadway. It is unpretentious, whimsical with a small cast of eccentric characters—or should I say caricatures?—that would better suit a small stage with an intimate seating. In the Walter Kerr Theatre, ‘Amélie's’ charms dissipate as they waft into the audience, its pleasures barely reaching the footlights, let alone the back of the balcony.”
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April 3rd, 2017

"God knows Soo gives it her all, pert and chipper to a fault. And indeed, it is a fault. How much wide-eyed sweetness can we take?...While her character may be insipid, Soo’s voice is anything but. Clear and soaring, it effortlessly fills the theater with Messé’s songs, most of which are pleasantly diverting...It’s hard to decipher director Pam MacKinnon’s vision for the production...The overall effect is quirky, devoid of charm."
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April 6th, 2017

"Soo's Amélie is certainly every bit as fresh faced as the Audrey Tautou was as the film's pixieish heroine...Mr. Lucas's book too has a good deal to recommend it...The problem is that the songs Nathan Tyson and Daniel Messe have given Ms. Soo to sing are not worthy of her beautiful voice...Welcome as the streamlined story is, it's likely to be more than a little confusing to anyone who hasn't seen the movie."
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April 8th, 2017

“The writers were not able to capture the movie’s uniqueness…Was it the uninspired book that didn’t find its own unique angle for mischievous humor? Was it the not-memorable lyrics that had good narrative approaches but lacked powerful hooks?...Lastly there is the direction, which kept us waiting for nearly an hour before the musical picked up steam…Soo had Amélie’s cute hair bob and yet I never fell under her spell and the whole show revolves around her character.”
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April 7th, 2017

"It is very beautifully crafted...Phillipa Soo radiates the pretty charming Amélie from the moment she steps on stage...It’s a shame, as the talent is all there, each and every one working and giving us gold...but the songs and the story line are too sweet for their own good, blending together in a nice but slightly dull affair. Director Pam MacKinnon forgot to give us some kick to this tale, relying too heavily on Soo’s fantastic gifts, and the world’s connection to the film,"
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April 4th, 2017

“The production super-imposes the 'Amélie' narrative over a generic contemporary musical structure…It’s workmanlike at best, and one often experiences an uncomfortable tension between the forced whimsy of the narrative and the bland expression of it…What stage magic that does exist is consistently undercut by the constant use of unimaginative projected visuals…The performers find what moments they can to shine."
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April 8th, 2017

“Amélie’ features a fine cast; clever, playful design; and a pleasing if unmemorable pop score…The colorful characters and fanciful subplots all felt part of the enchanting if ironic swirl on screen…The stage at the Walter Kerr, by contrast, feels crowded with details, distractions and digressions that are sometimes hard to follow…The musicalized vignettes are often presented like children’s theater run amok. The musical has a shorter running time than the movie, but it feels longer.”
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C
April 3rd, 2017

"The only thing that is crystal clear for most of 'Amelie' is that it lacks any consistency of tone or vision, a rather surprising omission considering the skills of director MacKinnon. What the show fortunately does have is the perfect actress in the role of Amelie...Soo possesses a rare combination of intelligence, intensity and basic likability...The show’s supporting cast is also stocked with top-notch performers, but few really get the opportunity to make much of an impression."
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April 7th, 2017

“Vocally Soo is perfect…The problem is her journey is so banal that we don’t really care…Chanler-Berat has wonderful chemistry with Soo…The cast is all talented…The direction by MacKinnon is well done for what the material allows...The biggest problem here is nothing really happens and what does is like a Hallmark card without the substance…The music is monotonous…‘Amélie’ misses the complexity of a girl who has several layers to her.”
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April 3rd, 2017

"Blandly enjoyable...There’s nothing very much wrong with this musical. The book is affectionate; the songs are inarguably pleasant. But it’s tricky to build a show around a protagonist whose main trait is wistful passivity...This is not to diminish the efforts of Soo and the director, Pam MacKinnon...'Amélie' is the creme brulee of musicals – a little sweet, a little mild, but difficult to push away all the same."
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April 3rd, 2017

"Craig Lucas’ confusing book never finds its focus...Soo and Chanler-Berat don’t overact, but then they’re not asked to do very much or given much reason for us to watch them...Nothing is heavier than whimsy when it doesn’t float...The songwriters’ aim is admirable...Their lyrics are intelligent, and Messe’s music is amiable. But being merely not offensive is not good enough with a story so thin."
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April 12th, 2017

"Soo shows that she has a good voice, is engaging and able to energize a production. The show itself...is pleasant but rambling without igniting the excitement needed to lift a musical to Broadway heights...The supporting cast is solid, with some good vocal turns sprinkled throughout, and some may appreciate the musical for its good-natured ambiance. However, seeing Soo as a new and pleasing star is the production’s main attraction."
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W
April 7th, 2017

“While something innately French has been lost in translation, 'Amélie' is a winsome musical (not cloying) with a solid cast...Staging is appealingly fanciful...This is an eminently tender production…Phillipa Soo has a splendid voice and comfortable presence…Songs are undistinguished but play well at the time…Director Pam MacKinnon utilizes the whole of a large set with creativity and joie de vive.”
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T
April 6th, 2017

"Director Pam MacKinnon proves she is as adept at staging enchanting adult fables as she is at enlivening dramas...The Gallic bon-bon features a sweet score by Daniel Messe and Nathan Tysen, a tidy book by Craig Lucas, and an enchanting lead performances by a spritely Phillipa Soo...A versatile ensemble delivering memorable work...At a fast 100 minutes, 'Amélie' is a sweet and tasty creme brûlée of a show."
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April 8th, 2017

“Fluffy and sweet. And that’s about it...‘Amelie’ is a delectable world of whimsy and joy but the overall execution is mediocre at best. You want to root for ‘Amelie,’ both the character and the show, but it often gets in its own way…The score was very much the Achilles’ heel of the production…Soo is delightful…But the character gave her little to play with so her full potential didn’t shine through…‘Amelie’ is a middle of the pack musical. It’s not great, but it’s not bad."
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April 3rd, 2017

"More original than most adventures dared in the commercial theater. To original, alas, please add heedlessly whimsical, precious and so fragile we can almost hear it squish under the boot of hard-driving Broadway crowds rushing elsewhere...Soo has an enchanting open face and a creamy voice with enviable breath control and, as Amelie, she dashes around Paris with her chin literally up."
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April 10th, 2017

“Stars Soo and Chanler-Berat can sing very well but you wouldn’t know it from the ungainly melodies they’re asked to tackle…The book is faithful to the movie in every detail except the one that matters: its spirit…They seem to have made the wrong choice at every turn...Soo does not display the star power that this role desperately needs. That’s not quite fair since no one could bring this story as written to life. Still, the charming Chanler-Berat does bring us in more.”
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April 4th, 2017

“A musical that dutifully hits its marks, but falls short of capturing the magic of Jeunet’s movie…Relies on viewers’ fond memories of the film rather taking ownership of the story and reshaping it for the stage in a memorable way...A middling and forgettable pop score...More often than not, Soo’s Amélie seems a bit of a bore—a cipher when she should be a font, bland when she might be magnetic. All this makes the central romance feel inconsequential at best and tedious at worst.”
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April 3rd, 2017

"Well-intentioned but uninspiring...A somewhat faithful book by Craig Lucas and a banal, disappointing score from Daniel Messé and Nathan Tysen...'Amélie' never seems to figure out what it wants to be, and its flaws lie in a combination of inconsistent directing by the usually reliable Pam MacKinnon and charmless, generic compositions...A closing number between the two leads, 'Where Do We Go From Here?' is promising, but it arrives too late."
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T
April 9th, 2017

"Despite a promising cast and crew, the Broadway adaptation lacks all the exuberant and mysterious joi de vivre that made the film such a critical and popular success...The most touching parts of the film get lost in the over-staging and the lackluster book...What the production seems to miss is that Amélie is not merely an adorable gamine doing cute things but a complex character living in a complicated, broken world that she is trying to fix; unfortunately, she can’t fix the musical."
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M
April 13th, 2017

"Whimsy is an elusive quality to capture in the Broadway vernacular of today...The result is an enterprise that is never cloying but never totally engaging. It certainly has its entertaining, even inspired moments, and you can admire the dedication and proficiency of the 13-person cast...Poignancy and grace—as well as a little touch of French jauntiness in its score—are elements that 'Amélie' could use more of, along with its inherited whimsy."
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April 8th, 2017

“'Amélie’ must make do with the bland and serviceable score of Messé and Tysen. Direction by MacKinnon at top-notch speed is helpful in keeping the one-act 90-minute musical alive, but its breathless pace only made me feel it was staged that way to prevent us from dwelling on the plot…Soo is a refreshing presence on stage…There is nothing ‘wrong’ with ‘Amélie the Musical.’ It just never soars. It never involves us, never really surprises.”
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April 10th, 2017

"Your preciousness threshold may well be tested with 'Amelie'...The musical adapts the film into a quirky operetta—with lots of emo-drenched pop/rock/Broadway sounds by Daniel Messe and Nathan Tysen...Pam MacKinnon’s direction keeps things clever and charming...Phillipa Soo doesn’t overplay or underline the cuteness. The result is an oddity that is best when it goes for flat-out satire."
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April 3rd, 2017

"In trying to translate to the stage the visual language of the film, the creators end up tripping over themselves and losing sight of the story...Instead of focusing on the emotional core of the material, director Pam MacKinnon serves up a steady supply of gimmicks...Soo's voice remains legitimately enchanting...But she generates zero chemistry opposite her love interest...The music by Daniel Messe is mostly of the bland show tune variety."
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W
April 8th, 2017

“The production team has captured a surprising quirkiness that's often wonderful. But when the musical attempts to explore real feelings—loneliness, isolation, fear—the glow dims. It's not terrible. It's just meh. Part of the trouble is that Phillipa Soo, who plays Amélie, often feels chilly and remote. Amélie is trapped in her head, but instead of letting us in, Soo's sprite pushes us away…The blurry ballads don't play to Soo's power pop vocal strength.”
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April 3rd, 2017

"Despite plenty of talent onstage and off, 'Amélie, A New Musical' is a series of playful moments that don’t add up to a memorable musical. What it does have going for it is a spirited cast of 13, including enchanting star Phillipa Soo...While the musical bounces along at such a clip, there’s never time for tension to build...Heart is something this show abounds with, but the music suffers from Broadway-fied orchestrations and a certain sameyness."
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April 7th, 2017

"What was once an enchanting, charming and colorful motion picture full of visual delights has been reduced to slow-motion comic strips devoid of whimsy or fairy-tale delights...The score is lifeless and dreary; no lilting French music or haunting melodies, just dirges. What should have been lighter-than-air direction is a plodfest of caricature thanks to Pam MacKinnon. Phillipa Soo gives her all to muster some life into the show, but the leaden material she is given drowns her."
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April 3rd, 2017

"It's a tenderly drawn, small story, but it feels out of place amid the bombast and bigger effects that Broadway usually trades in. Pam MacKinnon's production is sweet and full of charm but it makes no lasting impression. The same is true of Daniel Messe and Nathan Tysen's score...It's not Phillipa Soo and Adam Chanler-Berat's fault that the material isn't in the same league as their earlier hit shows, and that charm only goes so far."
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April 11th, 2017

“Everybody works very hard and very thoroughly, everything seems to happen more or less in coherent sequence, but the end result seems all efficiency and no charm. This is especially unfortunate because 'Amélie's' thread-thin story depends heavily on the kind of nonsensical, reality-defying charm we call pixilated...'Amélie' lacks that lightness...A little relaxation of that insistent Broadway grip might have made it a great deal easier to enjoy."
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Z
April 4th, 2017

“I hate whimsy. I’m also not particularly enamored of cute, quirky, oddball, eccentric, or twee. Unfortunately 'Amélie' has all those things, in abundance…Since everything is charming and, yes, whimsical, I can’t really care much about any of it. No conflict, no fire. I’m rooting for her and her potential love, but I don’t really care all that much because everything is just so sweet. The stakes are barely visible…The songs are nice. But nice, whether the songs or the story, just ain’t enough.”
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April 3rd, 2017

“The new musical has basically no events or structure…It’s hard to even provide accolades to any of the actors, because their characters made no sense…At times it feels a show for children; at other times it feels like a poorly conceived art piece that was trying to be indie and quirky...'Amelie' isn’t awful. Soo is actually quite good, though she has certainly done better. There isn’t anything necessarily wrong with 'Amelie,' but there isn’t anything necessarily right about it either.”
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May 21st, 2017

"One of the best musicals of the season with a charming book by Craig Lucas and a tuneful, delightful score, better than any Tony-nominated score except, perhaps 'Dear Evan Hansen.' The small-scale production is visually witty and perfect for the tone of the material...What was most impressive is that the production caught the offbeat quality of the film without being the least bit heavy-handed."
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April 9th, 2017

"Soo is sweetly unassuming, with an affecting, natural singing voice, but the adaptation even one-ups the original at being annoyingly eccentric...The musical approximates the movie’s oddball style, alongside stridently overwrought acting by the supporting cast. Director Mackinnon seems at a loss...and Messé’s score—with mediocre lyrics by Messé and Tysen—doesn’t overcome Lucas’s patchy book...'Amélie' the musical is ultimately as shallow as its cinematic forebearer."
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April 12th, 2017

“Playwright/librettist Craig Lucas works his magic here. I was also quite taken with Nathan Tysen's smart and quirky lyrics…If I wished the music had a little more French verve to it, OK. Not a deal breaker for me, but just a little bit would've been nice…If your tolerance for quirk and whimsy is low, 'Amelie' might not be the show for you...Mainly, I just let myself go with the gentle charms of ‘Amelie’…Soo is simply delightful in the show…It was sweet, wistful, and charming.”
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F
April 14th, 2017

"Despite the presence of the talented Phillipa Soo in the title role, 'Amélie' never seems to grab the audience to the point where they will care about the characters. It is, however, full of good (albeit not very memorable) songs, a beautifully designed set, and dreams...It is creative, albeit in a childlike manner...While the show itself is agreeable, it’s simply too sweet and oddly sentimental in a way that does not seem genuine."
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T
April 13th, 2017

"'Amélie' is—there is no other way of putting it—charming. Not in a cloying way, but with a sweet innocence...The problem with 'Amélie' is that nothing really happens...There is no conflict, no problems, not even any deep-seated yearnings by Amélie...Perhaps if the show featured outstanding music, or innovative music, or if dance had played a major role, the show might have been better...The cast is talented and achieves as much as possible from the material."
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April 9th, 2017

"As dainty and delectable as a well-cooked soufflé, the new stage musical 'Amélie' is a feather-light confection of pure charm...In a perfect match of material and star, Phillipa Soo takes on the title role...Daniel Messé and Nathan Tysen have crafted a gorgeous set of lilting melodies that are highly enjoyable at first listen...'Amélie' is a lightweight affair, but its message of pursuing human connections remains a salient one."
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December 19th, 2016
For a previous production

"A lovingly crafted confection, impressive in its execution and endearing in its simplicity…Carrying a show on her shoulders for the first time, Soo delivers with a requisite charm that is sweet but never saccharine…The only things French about 'Amelie' are the names and places. It may sound like sacrilege when you consider the distinctly French flavor of the Jean-Pierre Jeunet movie, but this adaptation only emphasizes how universal is the need to touch, and be touched by others."
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December 19th, 2016
For a previous production

"Though the show collectively adds up to a wondrous little bauble of innocuous magic, its individual pieces could use a little polish... Amelie herself doesn’t register as particularly quirky or endearing; she’s more aloof and disconcerting…Composer Messé and co-lyricist Tysen have crafted a mostly sung-through show that sounds perfectly pleasant but lacks layers and memorable melodies...Sweet and silly, but safe. Tender, but just on the cusp of touching."
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December 19th, 2016
For a previous production

"While it’s practically impossible not to love a singing version of the whimsical pixie — especially when played by ‘Hamilton’ breakout Phillipa Soo — her quest for romance simply doesn’t translate…Is it cute? Yes, of course. Is it clever, poignant, or profound? While the urge to pinch her cheeks remains practically irresistible, the desire to share in Amélie Poulain’s adventures proves considerably less compelling…Soo is pretty much the main reason to see the show."
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December 17th, 2016
For a previous production

"The musical adaptation reinvents the movie’s frolicsome charm…Soo seems to be relying at this point more on her presence than her acting. Soo’s Amélie is shy, beautiful, genial — and a little bland. The character’s individual contours aren’t fully drawn yet…But these quibbles likely won’t keep you from getting swept up in the fun of this larky show…And every time Soo opens her mouth to sing, the stars in Paris’ night sky shine brighter."
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December 17th, 2016
For a previous production

"Like Audrey Tautou's hair in the film, the new 'Amélie' musical is cute. Charming goes a long way but without more it's not enough to ignite passion or excitement in theatergoers. The show's music is serviceable but lacks grandness...More lift is definitely needed throughout the show-and not just sonically...Thankfully, 'Amélie' is worth seeing if for no other reason than Phillipa Soo...Her skills are powerful and plentiful!...She radiates every moment she's on stage!
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December 19th, 2016
For a previous production

"This whimsical world is populated by a consistently outstanding cast...Director Pam MacKinnon has created a rich tapestry composed of wonderful characters and inventive staging…The film’s episodic nature doesn’t translate well...Not one of these oddball characters has a strong through-line. As such, our central heroine lacks a much-needed dramatic arc and the musical lacks a thrust…And while so much of the score sounds lovely, most of the songs aren’t particularly memorable."
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December 16th, 2016
For a previous production

"Romance and whimsy reign supreme…Composer Messé’s melodies could not be more melodious, an absolute must in a musical almost entirely sung, and so are Bruce Coughlin’s orchestrations…Under Pam MacKinnon’s light-as-a-soufflé direction, leading lady Soo makes for a simply entrancing Amélie, who in Chanler-Berat’s nerdy-dreamy charmer of a Nino has met her perfect leading-man match."
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December 17th, 2016
For a previous production

"Failed to capture the intrinsic whimsical charm of the film...A little bit of whimsy goes just so far on stage unless it is played full out. The creators haven’t committed fully, staying somewhat in a neutral, realistic space that this piece doesn’t quite work in…'Amelie' is sure to disappoint fans of the film…Soo is charming and carries the show and the cast manages to make the most of their time…The score does sound pretty much the same from beginning to end with no real standout."
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December 20th, 2016
For a previous production

"’Amelie’ is a feast for the senses, with a bold, whimsical color scheme, innovative sets, and a fantastical feel…The music is pleasant and airy…The songs, while enjoyable, are ultimately unmemorable…The production is perfectly cast…While it is ultimately very pleasing, there are some structural elements that could still be ironed out…Minor issues aside, this musical seems well on its way to success…It is hard to imagine not being charmed by the atmosphere the show creates."
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December 24th, 2016
For a previous production

"Soo boasts a lovely voice and a radiant presence. But her ease and grace don’t quite jibe with the awkward and painfully shy character as it is written. Adam Chanler-Berat as Amélie’s love interest Nino delivers a strong performance, and together they display a nice chemistry…The play succeeds best when it fully commits itself to its whimsy and wonder. Otherwise we can look at this as a successful — if not wholly original — love story between two dreamers."
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Watch This Next (3)

83
Great
1K+ Reviews
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NYC: East Village

This family-friendly show celebrates the power of percussion and the sheer joy of banging on things.

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Great
500+ Reviews
Open run
NYC: Midtown W

An actor drinks heavily (in the vein of Comedy Central's 'Drunk History') and then tries to corral others into…

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81
Great
29 Reviews
Opens Aug 09
NYC: Upper W Side

Shakespeare in the Park is back this summer with Jocelyn Bioh's joyous adaptation of "Merry Wives."

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