Amélie, A New Musical

Reviewed by Vanessa Cate
Ahmanson Theatre
Through January 15

The world was first introduced to Amélie in the 2001 film directed by Jean-Pierre Jeunet and written by Jeunet and Guillaume Laurant. Brought to life by the sparkling Audrey Tatou and scored by Yann Tiersen, the movie was incredibly distinct and distinctively French. If you have seen this film (and if you haven’t, please do yourself a favor and do so), the hardest part about this stage version is adjusting to the world its creators have made, which — while loyal in detail to the movie — is otherwise as unlike its inspiration as the French and American landscapes are to each other.

Amélie grows up in a world furnished by her own imagination. As a child (Savvy Crawford), her stern father (Mandel Felciano) mistakes her excitement over his company for an unhealthy heart, and decides to homeschool her. When a strange tragedy suddenly ends the life of her mother (Alison Cimmet), Amélie becomes even more isolated.

Once she grows up Amélie (Phillipa Soo) moves out, desperate to experience the simple beauties of the world. She becomes a waitress in a café among a group of eccentric women, but spends her nights at home alone. Her life changes when she discovers an old relic in her apartment, which sets small adventures in motion and finally forces her to confront her fear of interaction.

Soo, who was nominated for a Tony Award in 2016 for her role as Elizabeth Schuyler in Broadway’s smash hit Hamilton, boasts a lovely voice and a radiant presence. But her ease and grace don’t quite jibe with the awkward and painfully shy character as it is written. Adam Chanler-Berat as Amélie’s love interest Nino delivers a strong performance, and together they display a nice chemistry.

The show’s book is by Craig Lucas (nominated for a Tony for An American in Paris, Prelude to a Kiss, and Light in the Piazza), with a score by Daniel Messé, and lyrics by Nathan Tysen and Messé. The music is lovely but largely unmemorable.

The visual elements of the production are its most remarkable feature — even more so when you realize that David Zinn is responsible for both the scenic and costume design, which may explain these elements are so entirely cohesive.

The play succeeds best when it fully commits itself to its whimsy and wonder. Otherwise we can look at this as a successful — if not wholly original — love story between two dreamers. This light fare would be perfect for a date night or when taking a child to the theatre.

Ahmanson Theatre, 601 W. Temple Str. Los Angles 90012; For schedule visit website. www.CenterTheatreGroup.org or (213)972-4400. Running time: Approximately 1 hour 45 minutes with no intermission.