![]() Instead, almost every song pleases, typically in a Gallic style that pays homage to jazz, blues, folk and even occasionally rock, with the odd classical riff. The music itself is also a delight, even if there are no big blockbuster hits of the kind that West End audiences and producers thrive on, although “Tour de France” is certainly rousing, as are several other tunes. Helpfully, these are also provided in the liner notes. Unlike so many jukebox musicals in which a clumsy plot is ham-fistedly bolted on to a series of existing songs, anyone who has the time to listen to the very witty lyrics on this recording will get a very good impression of the story of Amélie Poulain and her family, friends and admirers. The nature of the writing, in which the music became an integral part of the storytelling, lends itself to a soundtrack. This was the kind of holistic musical in which every performer played one or more instrument, as well as acting their hearts out to tell the story of an unorthodox young French woman.Īt the same time, it portrayed bohemian Parisian life at the end of the last century from the perspective of the common man (or more accurately woman). Having started out as an art house film that subsequently captured the hearts of a global audience, Amélie received new life as a musical and now, in yet another incarnation, the soundtrack of the London production at The Other Palace is available.Īnyone who saw that show at the turn of the year is bound to have been enchanted by its delightful and whimsical production qualities, along with the stirring and starring performance of Audrey Brisson.
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