Review: Ahmanson Welcomes Charming AMELIE

Amelie A New Musical/book by Craig Lucas/music by Daniel Messe/lyrics by Nathan Tysen and Daniel Messe/based upon the motion picture written by Jean-Pierre Jeunet and Guillaume Laurant/choreographed by Sam Pinkleton/directed by Pam MacKinnon/Ahmanson Theatre/through January 15

Amelie A New Musical, based on the 2001 French film Amelie, has a magical charm that reminds one of Matilda, at least in the beginning scenes. We meet the young Amelie (Savvy Crawford) who enters through a picture frame (see photo at left) and proceeds to tell her story, quite sad in fact, for she is saddled with a heart condition and difficult parents who keep her isolated and unhappy. Her mother meets a tragic, almost freakish demise and Amelie is brought up by her father who lives in a world of his own. As she matures, she realizes her lot in life will be to make other people happy. Now onstage at the Ahmanson Theatre through January 15, Amelie A New Musical has some wonderfully imaginative moments and a sparkling cast under the fast-paced direction of Pam MacKinnon.

So fast paced, in fact, that it travels at an electric speed. In spite of this helter skelter pacing, which impedes comprehension of some of the details, Phillipa Soo's performance as the grown up Amelie is a delight. She is a treasure, as is Tony Sheldon as the painter Dufayel who repaints Renoir's "Luncheon of the Boating Party" every year ... and the rest of the dauntless ensemble are terrific as well. In fact, I enjoyed much of the 90 minute piece. The opening, for example, is a real feast for the eyes. All the characters peer out of a picture frame one by one and then en masse and eventually make a grande entrance, again one by one. Fun and exhilarating to watch!

These same people spill out onto the stage and continue to guide us through the initial scenarios in every crook and cranny of the vast set, which by the way is slightly askew. All frames and borders are tilted, adding greatly to the whimsy of the story, which traces Amelie's odyssey through the streets of Paris from 1975 to 1997. There is dialogue, but much of the piece is sung like a rock opera.

The score propels Amelie through her fantasies, and you root for her to find romance and true love, as she has never experienced it. Nino (Adam Chanler-Berat) is a young man that Amelie accidentally runs into at various photo booths around the city. One day, he falls and leaves behind a photo album that Amelie picks up. Much of the plot follows Amelie's quest to find Nino and to return his album. She is captivated by it and his array of pictures that have been torn to shreds and then pasted back together in the book. In her imagination she sees a Mysterious Man who gets photographed all over the city to prove that he exists. As he cannot take it all in, he tears up the pictures. This puzzle is not resolved until the end. The play is all about connections and many of the other characters become involved when at one point or another, they find themselves being photographed in one of the booths.

One absolutely hilarious scenario occurs when Amelie hears of Princess Diana's death in 1997 via TV. Instead of Diana the whole scene switches to Amelie as a Mother Teresa like figure saving orphans. After a tragic death, she is referred to as the Protector of the Outcast, the Light of Goodness. In this fantasy she sees herself revered and even Elton John pays her homage in a private concert. The whole scenario is off the wall funny and it is this kind of crazed humor that gives Amelie its bite. Another is her father's attraction to a gigantic Garden Gnome that he creates to protect her mother's grave. Her mother hated gnomes, and it is for this reason that her father is attracted to it, as it reminds him of her.

Under MacKinnon's keen guidance, the actors all shine. Crawford and Soo are delicious to watch in their childlike pursuits. Chanler-Berat as Nino brings a precious sensitivity to the fore. Sheldon is paternal as the wise old painter. He is the father Amelie never had. He is the only character to talk to her honestly, telling her to stay out of the lives of others. He advises her to take a risk and allow herself to love. Other standouts in the cast are Manoel Felciano as Raphael, Amelie's father, Randy Blair as the writer Hipolito, David Andino as the gnome, and in various female roles, Harriett D. Foy, Maria-Christina Oliveras, Alyse Alan Louis and Alison Cimmet are of special note.

David Zinn is to be credited for his glaringly colorful scenic and costume design, Peter Nigrini for his vibrant projection design and Amanda Villalobos for her unusually strange puppet design. Thanks as well to Sam Pinkleton for his marvelous musical staging and to musical director Kimberly Grigsby.

On a lesser note, the music by Daniel Messe is up and bright, suiting the playful element of the piece, but, alas, you will not leave the theatre humming any of the tunes.

I laud Amelie A New Musical for its ingenious imagination and creativity. For a traditional music lover, it isn't easy to keep up with newer trends, particularly when they are fast and furious, but I do admire and appreciate the endeavor. I have not seen the film, but when all is said and done, Amelie most likely makes a better movie. Its sweep is cinematic, and the romance lends itself so perfectly to close-ups. Enjoy through January 15!

www.centertheatregroup.org

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