Amelie

Jan 26, 2017 - May 22, 2017

Running time: 1:50

PLAYING @

Walter Kerr Theatre
219 W 48th St
New York, NY 10036

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PUBLIC TRANSPORTATION
By Subway: 1, C, E to 50th Street

Show Description:

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Music

Daniel Messé

Lyrics

Nathan Tysen and Messé

Book

Craig Lucas

Director

Pam MacKinnon

Choreography

Sam Pinkleton

TDF MEMBER TICKETS:

AVAILABLE

Listed at TKTS:

Never

FULL-PRICE TICKETS

$69.50 - $170.00

prices subject to change

ADDITIONAL INFO

Rush
A limited number of $39.50 rush seats are available for purchase in person (cash or card) at the Walter Kerr Theatre box office beginning at 10am (noon on Sundays) for that day's performance(s) only. There is a maximum of two tickets per person. Rush tickets are subject to availability and may not be offered at all performances. Seats are best available and may be partial view.

Age Guidance: 13

Show Notes
No Intermission

ACCESSIBILITY INFO

Wheelchairs
Wheelchair seating available. Theatre is not completley wheelchair accessible. There are no steps to the designated wheelchair seating locations. Wheelchair seating is in the Orchestra only.

Seating
Orchestra on ground level. Mezzanine, balcony and restrooms reached only by stairs.

Elevator\Escalator
None.

Parking
Valet parking lots: Holiday Inn Hotel on Broadway between 48th & 49th Sts.; on 48th St. west of theater. No vans.

Curb Ramps
NW corner of 48th St. & Broadway; NE corner of 48th St. & 8th Ave., and just west of entrance.

Entrance
Double doors in series: 1st set (each 23", heavy) to outer lobby; 2nd set (each 26", heavy) into orchestra.

Box Office
Outer lobby. Counter 41".

Restroom
Womens: Up nineteen steps from orchestra.Mens: Up eighteen steps from orchestra.

Water Fountain
Water available from bar.

Telephone
A cellular telephone is available free of charge to patrons with disabilities.

Assisted Listening System
Reservations are not necessary. Drivers license or ID with printed address required as a deposit. Please call: (212) 582-7678 to reserve in advance.

Visual Assistance
None.

VIDEOS

REVIEWS

But while she [Soo] inhabits the show’s fantasy-land vision of Paris with ease, gamely dressing as a nun, and even (egad!) impersonating Zorro at one point, Soo makes Amélie a conflicted, believably vulnerable young woman. At first safe in the stilled waters of her circumscribed life, Amélie eventually slips into the stream of the world, as her reserve dissolves when she sees others’ fortunes changed by a touch of her hand. Soo makes this transformation both honest and touching. We leave Amélie with her head still full of happy dreams, but her feet firmly planted on the ground

---Broadway News Continue Reading Broadway News

Soo, the original Natasha in “Natasha, Pierre & the Great Comet of 1812” and the first Mrs. Alexander Hamilton, has an enchanting open face and a creamy voice with enviable breath control and, as Amelie, she dashes around Paris with her chin literally up. Since the book is by brinkmanship fantasist Craig Lucas (“Prelude to a Kiss”), she confidently tumbles down the rabbit hole, supported by designer David Zinn’s fetching, intimate Parisian stack of cabinets and wardrobes in birds-egg blue.

---Newsday CONTINUE READING

As for Soo, who now has her third leading role (after Hamilton and, before that, Natasha, Pierre & The Great Comet Of 1812), this is the best showcase yet for a star who shimmers more than she dazzles: Her pipes can fill the house but more often the sound is of a polished pop warbler, and that’s perfect in this milieu. The authors, along with [director] MacKinnon and choreographer Sam Pinkleton, avoid gratuitous winking, trusting both Amélie and Amélie to work their charms. You’ll buy it, or you won’t. By the end, I was a bit in love, even if – as so often is the case with the real thing – it wasn’t at first sight.

CONTINUE READING