This story was originally published by ArtsATL.
The cast of Horizon Theatre’s “Amélie,” running through Nov. 10, give it their all, and, while their efforts aren’t totally in vain, it’s apparent they are working against a few elements.
Adapted from the 2001 French-language romantic comedy film of the same name, “Amélie” tells the story of Amélie Poulain, a quirky young server living in Paris who is inspired by the death of Princess Diana to begin gifting people with anonymous acts of kindness. Her newfound altruism gives her a sense of purpose but also serves as a distraction from her own loneliness, affording her the illusion of closeness with others. These random acts of kindness eventually put her in the path of an equally quirky young man named Nino, with whom she develops an unexpected connection.
The film was critically acclaimed upon release, and, while the musical’s Broadway premiere in 2017 received mixed reviews, it was much better received on the West End after an overhaul of the book and score.
There is a certain effervescent quality in Craig Lucas’ book, uplifting in the ways that it captures Amélie’s loneliness. Still, the story is uneven and the theme remains inconsistent. Character arcs are muddled, and certain story beats feel misplaced (especially the Act I closer, which, while amusing, is baffling). Most of this is forgiven due to how moving the final few scenes are, but it’s hard to totally ignore.
Credit: Photo by Shannel J. Resto
Credit: Photo by Shannel J. Resto
This production, directed by Heidi McKerley with assistant direction by Jeff McKerley, captures much of the offbeat, imaginative energy of the original film, especially in the opening number, which retells the early years of Amélie’s life. Inventive set design by Isabel and Moriah Curley-Clay, coupled with eye-catching costumes by Carrie Giglio and amusing props by Victoria Nation, help to bring Amélie’s vibrant inner world to life.
McKerley adopts the same actor-musician approach used by the West End production, in which most of the ensemble members also act as the band. While music director Holt McCarley utilizes the ensemble well, there are a few numbers that feel somewhat anemic without more full-bodied orchestrations.
Complaints must be leveled at Heidi and Jeff McKerley’s choreography. Some of it is clever and well matched to the songs, but it leans too far on the simple side. The biggest letdown is the closing number of Act I, “Goodbye, Amélie.” What is supposed to be a showstopping number to close out the first act feels anticlimactic, partially due to its strange placement in the story but partially due to the bare-bones staging. Other songs are not as harshly affected, though there are moments where the choreography feels almost under rehearsed, with actors failing to be in sync on seemingly simple movements.
The cast is strong, with Anna Dvorak bringing a playful yet vulnerable energy to the titular role. Her Amélie is funny yet deeply sympathetic. The score does not quite show off her powerhouse voice, asking for more soprano lilting than belting, a register in which she seems to have noticeably less control. However, the imperfections are only a few and the quality and texture of her voice remain pleasingly consistent throughout. Her renditions of “Halfway” and “Times Are Hard for Dreamers” are excellent.
Credit: Photo by Shannel J. Resto
Credit: Photo by Shannel J. Resto
As Nino, Amélie’s equally eccentric love interest, Jordan Patrick has an undeniable charm and magnetism. There is a sense of earnestness to his performance that is effortlessly endearing, and his voice glides easily through Daniel Messe and Nathan Tysen’s score. He and Dvorak have excellent chemistry, anchoring the viewing experience in the desire to see these two starry-eyed dreamers come together. Their voices blend beautifully in the 11 o’clock number, “Stay,” in which Amélie voices her desire for intimacy — as well as her fear that any attempts at closeness are doomed to fail. It’s perhaps the production’s standout number, bringing the emotional through line to a poignant climax.
The rest of the cast is appealing as well, all bringing various shades of comedy and pathos to their characters. Particular standouts include Jennifer Alice Acker as café employee Georgette and Jeff McKerley as Dufayel, Amélie’s shut-in neighbor.
The story of “Amélie” seeks to uplift the audience, and, while this staging is mostly successful at that, it is hard to ignore issues in the script and staging. These do not completely bring the production down, however, and fans of the story will likely find plenty to enjoy.
THEATER REVIEW
“Amélie”
At Horizon Theatre through Nov. 10. 8 p.m. Wednesdays, Thursdays, Fridays; 3 and 8 p.m. Saturdays; 5 p.m. Sundays. Tickets start at $40 (starting at $45 Friday-Saturday nights and weekend matinees); $20 students. 1083 Austin Ave. NE, Atlanta. 404-584-7450, horizontheatre.com
::
Luke Evans is an Atlanta-based writer, critic and dramaturge. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.
Credit: ArtsATL
Credit: ArtsATL
MEET OUR PARTNER
ArtsATL (artsatl.org) is a nonprofit organization that plays a critical role in educating and informing audiences about metro Atlanta’s arts and culture. ArtsATL, founded in 2009, helps build a sustainable arts community contributing to the economic and cultural health of the city.
If you have any questions about this partnership or others, please contact Senior Manager of Partnerships Nicole Williams at nicole.williams@ajc.com.
About the Author
