A star-studded cast, a come-to-life goldfish, a dancing gnome, an Elton John impersonator — these are just a few of the spontaneous, wacky bits of humor that make “Amélie, A New Musical” one to watch. Based on the 2001 film, “Amélie” tells the story of a young woman who escapes her sheltered childhood to help others and unexpectedly finds love along the way. The brilliant one-act musical has a light-hearted, funny way of telling the story as the entire cast plays multiple roles and narrates the story throughout.
The cast is led by Samantha Barks (“Les Miserables”), who commands the audience’s attention; she makes the shy, potentially boring character of Amélie likable, nailing Amélie’s vulnerability and inspiration to perform good deeds anonymously. Adam Chanler-Berat (“Peter and the Starcatcher”) portrays Amélie’s lover, Nino, and shocks the audience with his golden voice in his breakout solo song later in the show. Every character of the story has a distinct arc, and each actor effectively takes on several different roles in the ensemble. The choreography is subtle yet sexy — almost Fosse-like — and focused more on visual appeal rather than traditional, technical musical theatre choreography.
Everything about the show is quirky and magical. The base of the set, decorated like a child’s room, stays the same throughout the show and the entire set is tilted, depicting Amélie’s own little fantasy world. As scenes change, beautiful projections and set pieces flood the stage quickly and smoothly. The stagecraft is charming as cast members use props to create the setting; for example, glittery red hearts are mysteriously revealed around the stage by ensemble members as Amélie and her lover lock eyes. The clever use of puppetry in the tragic deaths of Amélie’s goldfish and mother lighten the grim themes in a hilarious way.
As with all World Premiere musicals still in the works, there are some aspects of the show that do not quite make sense and need some more work. The whole cast has American accents although “Amélie” is set in France. A few of the transitions between songs and scenes are unfulfilling because some of the songs do not have obvious endings. In particular, I found myself yearning to hear more of Samantha Barks’ voice; her solo song drifts off without a chance for the audience to acknowledge her strong belt and sweet mix. However, if “Amélie” continues to live (perhaps on the road to Broadway?), the few times things felt off can ultimately be fixed.
“Amélie” is an incredibly simple story turned into a magical tale. The harmonies are a special treat — clear and well arranged. The playful adult humor in the show would go straight over the heads of children, making the musical a wonderful family show. The future for “Amélie, A New Musical” certainly looks bright.
“Amélie” runs through Oct. 18 at Berkeley Repertory Theatre. For tickets, visit berkeleyrep.org.
Contact Bella Wilcox at belwilc ‘at’ stanford.edu.