Amelie at Berkeley Rep — Page 5

I suspect The moments that got reblocked involving the stage elevator were the scenes involving the cafe set, possibly the carousel as well. One I KNOW got changed was the set for her Father's garden shrine, which (in the performance I saw at least) was the only set piece that had to be brought on by a pair of stagehands as opposed to the cas (it was hidden by the choreography from the orchestra level but clearlly visibly from the mezzanine. I'd appriciate if anyone would let me know these changes were perminent or if anything has been shifted back to the stage elevator.

hey jbroadway

ive only seen a few negatives on the board so far,

I think it has a good shot at fairly broad acceptance of being ok to very good in most peoples option

i dont think it will have many haters

and like every show will attract its raving fans

my guess by the time it hits broadway

it will be mostly "worth seeing" to very good

im at a worth seeing right now

and will see what they do by the end of run

saw company at sfplayhouse friday...extraordinary performances....

^Case in point. It's divisive.

^But let's not forget that shows like Movin' Out and Aladdin weren't particularly well-received out of town, but both creative teams were able to turn them around into some much more favorably received hits.

But there will also be critics that have never seen the movie. You're basing all your assumptions about this show and how it'll do on the movie, and you can't do that, it's a stage production, it's not a movie, and it's not going to be the movie, it's not supposed to be. I think comparison to the movie is good, but there can be such a thing as over comparing, and at a certain point you have to admit that you're looking for or expecting this to be something it doesn't want to be, you want it to be that, but the show is not going for what you want and that's ok. As with anything that changes mediums (stage shows to movies, movies to stage shows, books to movies, books to tv shows) you have to go into it knowing it will not ever be a straight across adaptation, it can't be, different mediums require different things. I don't think Amelie the musical was ever meant to be the movie 100%, I think it's more of a new version of the story and that's something some people, like yourself will care about and not like, but it'll be something else other people like the fresh take on, or they won't even know the movie to compare it to. I loved the book The Bridges of Madison County, and I loved the stage version also, they were both different takes on the story, with different actions and scenes, but the heart of the piece as a whole was in tact and that's the important part.

There are things about this show to pick on, but I think you're focus is in the wrong place. Maybe it's not an adaptation for you, but that doesn't mean it'll flop just because YOU don't like it. I LOATH the movie adaptation for Confessions of a Shoppoholic because I hold the book so close, I love that book SO much and I just didn't like the translation to film, but other people LOVE it, and that's ok, it's just not for me, that doesn't make it a terrible film, that just makes it a film I don't like.

Updated On: 9/4/15 at 11:11 PM

How is the quality of the show compared to American in Paris?

Another Musical with the book by Craig?

Updated On: 9/5/15 at 06:01 AM

Seems like you answered your own question.

Jeffrey Karasarides said: "^Why would you ask that? The only thing that both those shows really have in common is that they're these stage musical adaptations of films set in France with books by Craig Lucas.

I think it's a perfectly valid question to compare two shows written by the same person.

In answer to the question, I personally am one of the few who thought the book for An American in Paris was perfectly fine, if not good. I think the book for AAIP is tighter and more polished, but I think Lucas' book for Amèlie has more heart. I think both do a decent job of adapting their respective movies.

In in an ideal world, everyone would judge the show on its own merits and not by comparing it to the movie, but I think it's very difficult for people (including me, as evidenced by my posts here) to separate something from its source material.

Updated On: 9/5/15 at 09:55 AM

if i were a betting man id say jeffey was being facetious....

I agree that EVERYONE will compare this to the movie initially

especially since this is more of a story musical than a blockbuster song

musical like Kinky Boots....

I'm excited to see this again, and see what changes they are making...

You would think making Amelie, one of the most perfect movies I've ever seen into a bad experience would be impossible, right? Well, ladies and gentlemen, the impossible is on display at the Berkeley Rep, because not only is Amelie bad, it's a full on trainwreck. The staging is way overdone, the music does not at all fit the piece, the cast is charmless (Amelie! Charmless!) and the book. Oh god the book. The humor is way too over-the-top and pushed way too hard for a laugh. Subtlety and quiet charm with a perfect mix of slapstick? Not here. Every little touch that made the movie better is either gone of given a total spotlight as if the audience were incapable of seeing something unless they shoved it down your throat (ie: the raspberries). The two leads have no comic timing and Samantha Barks could not be more wrong for the role. Basically it boils down to the movie took the show don't tell rule to heart and the musical threw it out the window along with every other special thing about the movie. I can see why Jean-Pierre Jeunet was reluctant to release the rights for this show.

Running time: 2 hours, though it felt like 3.

Side note: The best member of the cast was Young Amelie, who's sister is Lilla Crawford, who was in the audience today.

I definitely don't share fantod's extreme opinion, but it is hard to put a finger on exactly how I feel about the show. It definitely captures the essence of whimsical.

The book felt a little off and it didn't help there was no intermission. I couldn't keep up with some of the plot and the narration was confusing. The score, while not catchy, was lush and deeply moving. Even without fully getting what the full context of the plot was(I did not watch the movie), all the songs were so good at helping me connect emotionally with the character.

I was expecting to see Sam Barks full of belts and riffs but she definitely approached the role with subtlety. Unfortunately, I just didn't think there was enough subtlety or maybe the kind of subtlety from the movie can't be translated on stage. Even without seeing the movie, I am guessing the kind of anguish she is supposed to convey during "Stay" at the end should not be the same as the Eponine/"On My Own" variety, yet I couldn't distinguish between the two. I thought she was very good but maybe just not quite right for the role. The rest of the cast was solid as well although the child actor was underwhelming. Her singing was fine until her harmony with the adult Amelie hit a bum note. Based on my best guess, she was off key and the note was painful. The child Amelie, while cute and adorable, was not so good at acting to complement what the adult Amelie was doing. I know expecting anything beyond cute and adorable might be too high of a bar for a child actor, but this particular child role is more critical to appreciation of the emotional centerpiece in the show than average role(little Eponine/Fiona and the like).

I agree , I saw early preview and unless there was much improvement with Young Amelie there would have to be a change - while quite adorable in looks , she lacks the singing and acting ability needed . It's an important role, being that she is the majority of first half and quite a bit of story line is set up in the beginning - I also had the pleasure of seeing the Broadway Lab last year with Phillipa Soo as Amelie and Zoe Manarel as Young Amelie . Phillipa Soo ( Now in Hamilton ) was outstanding , whimsical and had an amazing onstage relationship with Nino - Her signing was stunning and breezy never having to try to hard - Young Amelie did a wonderful job as well and held her own in both the singing and acting and was just quirky enough without over doing it - I would love to see that pair again !