Residual adoration for her performance in “Hamilton” from last season alone could carry her to a nomination in Best Actress this year. While most critics felt the actress had little material of substance to work with in “Amélie,” she has a stellar reputation in the theatre community. Soo might fare better than the musical itself. With 13 musicals eligible in the Best Musical category at the Tonys, five of which have yet to open, “Amélie” will struggle to break into the top category, especially considering three of those slots seem destined to go to frontrunners “Dear Evan Hansen,” “Natasha, Pierre, and the Great Comet of 1812,” and “Come From Away.” MacKinnon will also most likely miss out on a nomination, despite the handful of warm notices her work on the musical received. In light of the muted reception from critics, how might “Amélie” expect to do at the Tony Awards? Ben Brantley ( New York Times) deems the musical “mild-mannered” and “oddly recessive” in the sense that it “neither offends nor enthralls.” Even though he applauds the team of “very clever designers,” he dislikes both Soo’s performance, which “gives few clues to what’s going on inside Amélie’s ever-churning mind,” and the score, which evokes “pink Champagne gone a bit flat.” Harsher yet, Marilyn Stasio ( Variety) criticizes the score as “emphatically insipid, with zero flavor of Paris,” the “too precious” song lyrics, and the “twee book.” Although she finds Soo’s voice “lovely,” she doesn’t think it’s “enough to animate the character,” yet she does single out Tony Sheldon’s performance that’s “played with humor and heart.”ĭish ‘Amélie’ with Broadway insiders in our notorious forums Other critics found even less to like in the staging. Linda Winer ( Newsday), for example, praises the “bushels of imagination” in director MacKinnon’s staging, Soo’s “enchanting open face,” and scenic designer David Zinn’s “fetching, intimate” set design, but finds the musical overall “heedlessly whimsical, precious, and so fragile.” David Cote ( Time Out New York) similarly characterizes the musical as “promising but never delivering,” commending MacKinnon who “keeps the ensemble whirling,” but laments that Soo gets stuck with a rendering of the title character who’s “stubbornly passive” and bemoans that the “score is a string of dreamy and wistful pop numbers that blur together.” Overall, Amélie received less than stellar reviews from critics, with many arguing that the individual parts far exceed the whole of the experience. With such beloved source material and one of Broadway’s brightest new stars in the leading role, did the musical adaptation live up to critics’ expectations? With experts’ latest predictions and breaking news
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