Showstoppers’ first show of 2025, Amélie was a delightfully fun watch from start to finish. Based off of the 2001 French film of the same name (Amélie), the production focuses on the whimsical and benevolent life of the main character (once again, also called Amélie), as she experiences all manners and facets of growing up, life lessons, kindness, Elton John (yes), and romance.
As the show began, it became increasingly apparent that a lot of passion had gone into the production and tech elements of the show. First, I would like to acknowledge the tech. It was executed wonderfully, with much of it faithfully mirroring events of the plot very well. I particularly liked the part where Amélie’s heartbeat was mimicked in the audience seating area lights.
The choreography (done by Amy Bundy and Kimmy Shopland) was also a real stand-out throughout the entirety of the show. Many of the play’s themes came through in the choreography of the dances, especially in moments where all or most of the cast were on stage at once (and most notably the idea that all characters are in some way connected shone through very well). And of course the pit band (as is always the case in Showstopper shows) was exceptional in their accompanying performances.
Credit: Showstoppers
Props and costumes were also a highlight. Multi-rolled characters were distinct in their costuming and, as such, there was never any confusion in who was playing who. The extensive use of props in the play were pivotal to many aspects of the plot (such as the use of two phones, a hidden box with a watch inside, books, photographs, paintings and some certainly interesting items found within an adult toys shop…). Both props and costumes combined here to create a sense of aid and coherency in settling questions of time, place, plot and character very effectively.
The musical directing, done by Alastair Rey, Avigayil Yacobi Padan and Lily Ong, clearly had a lot of thought and effort put in, as the cast all sounded lovely and very much “connected” with one another. Moments where the cast all sang together were highlights for me as these were the sections where everyone seemed to be having the most fun – making it clear that a lot of passion was put into rehearsal.
Credit: Showstoppers
The real stars of the show, however, were undoubtedly the stars of the show. Every actor who performed was remarkably convincing in bringing their characters to life. In a show so heavy in multi-rolling, every character nonetheless proved themself to be unique and distinct in how they were portrayed. Sophie Le Duc, Emily Young and Isabel Scott contrasted comedy with earnestness of plot wonderfully (from fig-selling, to fish, to misogyny??, to photo-boothing and to expressing the nuances of being a gnome, all three actors portrayed their respective characters with a clear passion). Will Bartlett as Hipolito and Elton John (I wasn’t lying) showed off some truly well-timed comedy in the humour of Hipolito and the absurdity of Elton John. Dennis Hughes, Sophie Green, Tom O’brien all showed excellent versatility in their characters, switching from plot-driven to humorous very effectively and garnering many laughs throughout the night. Naomi Park, Sarah Kallos and Erin Craddock as the three waitresses at the Two Windmills Cafe had great chemistry as a trio, being each distinct from one another, and never failed to keep scenes in the cafe lively. Finally, Issie Roll and Félix Marceau as Amélie and Nino respectively. Both showcased a tremendous talent in portraying the two leads and portrayed with ease characters filled with eccentricities, desperations, passions and kindness in a superbly effective and convincing way. Issie Roll particularly as Amélie showed herself to be the centre of all the goings on and her performance throughout reflected that extremely well.
Credit: Showstoppers
The whole production expressed itself with a whimsy and eccentricity in ways that were both clear yet also subtle. Scenes shifted in and out of reality with dream-sequences, characters doubled as metaphorical representations, the set played roles in creating a fluidity of location. My personal favourite moments were the ways in which both acts were concluded. The first being a dream number by Elton John which exuded a creativity and humour perfect for preceding an interval. The final closing with Amélie and Nino taking centre stage in the ever-present photo booth created a feel-good and wholesome roundabout ending perfectly fitting for a play with so much movement. All of these ideas felt perfectly intentional from directors Daisy Wallace and Destiny Thomas and, as a result, their passion shows forthright in their finished product – they should be very proud.
Showstoppers have started 2025 off with a wonderfully pleasing, fun and feel-good production full of dreamy, whimsical moments that entertained from start to finish (it all had a real je ne sais quoi, pardon the french…). It is clear that both cast and prod truly had a great time in putting on this show. From figs to Elton John, nothing felt out of place. Everyone should be very proud of all the work put into this show!
Credit: Shoswtoppers
