![]() ![]() How would they be able to convert this beloved, highly cinematic French film into an English-language musical for the legit stage? Could Tautou’s winsome performance be replicated? Having got that off my chest, I went to see Amélie, A New Musical with some trepidation. Case in point: Did the 2003 mediocre movie School of Rock really merit an Andrew Lloyd Webber makeover on the not-so-Great White Way, especially minus the rambunctious wit and presence of Jack Black? The commercial motive comes at the expense of originality, which not only deprives viewers but harms artists. Sequels also usually fall into this misbegotten “we’re only in it for the money” category.Ī high percentage of Broadway shows are revivals and/or derived from other sources. The cross-referencing of “content” from one medium to another frequently is a way to maximize brand recognition with a previously known quantity translated from film to the proscenium arch, the page to the cinema, the big screen to the little screen, live action to animation, and so on, back and forth, ad nauseam. Now, arguably the best of these lighthearted, good fun extravaganzas is delighting audiences at L.A.’s theatrical flagship, the Ahmanson.Īmélie, A New Musical is a stage version of the 2001 French film Amélie by Jean-Pierre Jeunet, starring the pre- Da Vinci Code, charm-your-knickers-off, très mignon Audrey Tautou. ![]() The Dorothy Chandler Pavilion kicked things off with a rollicking rendition of Leonard Bernstein’s Wonderful Town, while Stephen Sondheim’s Merrily We Roll Along happily rolled at The Wallis Annenberg Center for the Performing Arts. theatergoers have been experiencing an embarrassment of onstage riches during the holiday season. Phillipa Soo and Adam Chanler-Berat / Joan Marcus. ![]()
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