Friday 10 May 2019

Amour - Review

Charing Cross Theatre, London


Music by Michel Legrand
Libretto by Didier Van Cauwelaert
English adaptation by Jeremy Sams
Adapted from Le Passe-Muraille by Marcel Aymé

The company

Michel Legrand’s Amour is a curious show, first seen in Paris in 1997 and then five years later, on Broadway where it was to run for a month or so. Curious for sure, but yet this whimsical tale of a Parisian clerk who finds himself temporarily gifted with a superhuman ability to walk through walls,lends itself perfectly to London’s Off West End theatre scene.

The tale may be implausible and Jeremy Sams’ translation of the original libretto occasionally creaks with a predictable, schoolboy simlplicity. But in the hands of Danielle Tarento’s cast and creative team, Legrand’s show is imbued with a classy charm that, like the most delicate of a French pâtissier’s mille-feuilles, is a delight to savour.

On stage virtually throughout, Gary Tushaw is the magically transformed Dusoleil, bestowing a plausible ordinariness upon his literally unbelievable character and bringing a vocal delight to the role in this sung-through piece. The object of his desire is Anna O’Byrne’s Isabelle, with the actress’ pedigree shining through every time she sings. O’Byrne brings a quality to her performance that is most usually associated with West End productions costing far more than a Charing Cross ticket, as her poise, presence and vocal delivery prove enchanting. 

To be fair all of the cast are close to flawless, with some of the ensemble's close harmony work proving sensational as they glide through Legrand’s cascading melodies. There is a fine turn from Alasdair Harvey as the jealously possessive Prosecutor and husband of Isabelle, while Claire Machin’s Whore brings the house down with her perfectly nuanced caricature. A nod too on the night of this review to Jack Reitman, understudying three minor roles brilliantly, and delivering the Doctor with an assured comedic confidence.

Tarento’s hallmarks of outstanding production values abound. Hannah Chissick’s direction is perceptive and intuitive, Adrian Gee's costumes are a treat, and in a venue where sound design can often disappoint, Andrew Johnson’s work is outstanding. Every word is crystal clear, easily heard alongside the immaculately balanced sound of Jordan Li-Smith’s also excellent 6 piece band.

While the narrative and argument may be slight, the charm of this show makes it a musical highlight of the capital's 2019 fringe scene. For lovers of quality musical theatre production, Amour is unmissable.

Runs until 20th July 2019
Photo credit: Scott Rylander

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