Amelie at Berkeley Rep- Page 7

[BIG BALONEY]

Posted: 9/23/15 at 10:41pm

Well I am in San Francisco for ten days and now with Amélie running to October 18 I can catch it. A short trip on the Bart. Just got a ticket for the Final Performance. 

[dissimilate]

Posted: 9/24/15 at 2:00am

Jeffrey, re: Jessie Mueller – technically it won't be back to back, since Kelli O'Hara won this year for K&I. Also, is Phillippa Soo considered lead? I thought she would be under the supporting category.

 

Kad, agreed that the hype about what's going to overthrow Hamilton is ridiculous. I've seen Waitress, and while it's a likeable solid musical, it's nowhere near good/innovative/interesting enough to take any of the creative awards. Best Actress for Mueller, maybe. As for the rest, well, it depends on whether the hype surrounding Hamilton has died down by then – or that it got too overly hyped and deflated, which is a real possibility. IMHO everyone's just going gaga over the admittedly highly innovative rap/hiphop score, but the book is clunky and has serious pacing issues. And please let LMM not get an acting nom. He's the weakest link in the cast, acting- and singing-wise.

Updated On: 9/24/15 at 02:00 AM

[dissimilate]

Posted: 9/24/15 at 2:03am

As for Amelie, I still kind of want to see it with my own eyes, even if it's terrible. Just to compare it with the film. (Yes, yes, I know.) I used to live in Berkeley, so I'm bummed that it's taken so long – if only it had run a few years ago!

[broadwaysfguy]

Posted: 9/24/15 at 2:52am

what a fantastic summer for sf area musicals

Mathilda

Company

Amelie

Aida

Sweeney Todd

all within about 60 days...fantastic....

and opening this weekend

Dogfight

 

[wildcat]

Posted: 9/24/15 at 4:09am

http://www.latimes.com/entertainment/arts/la-et-cm-amelie-berkeley-review-20150923-column.html

A rave in the LA Times

[Jeffrey Karasarides]

Posted: 9/24/15 at 8:32am

Jeffrey, re: Jessie Mueller – technically it won't be back to back, since Kelli O'Hara won this year for K&I.

 

Broadwaysfguy said that, not me.

Updated On: 9/24/15 at 08:32 AM

[JBroadway]

Posted: 9/24/15 at 9:50am

Also just found this mixed review from StarkInsider - 3.5/5 stars:

http://www.starkinsider.com/2015/09/samantha-barks-stars-in-charming-amelie-musical-review.html

[Lilly7]

Posted: 9/24/15 at 11:37am

I feel like the show needs some work and they would be better off fleshing it out and making it two acts but there's definitely something there. With some tweaks, I wouldn't be surprise if the show went to Broadway. 

[Brick]

Posted: 9/26/15 at 1:19pm

Finally caught it.

I agree with many of you: over-all, there is some charming stuff there, though they have quite a bit of work to do before it's NY-ready.

Being an out-of-town try-out and world premiere, I can't imagine the creative team doesn't have a list twice as long as mine, waiting until they can put changes in.

Some of my thoughts (tons of SPOILERS):

-OPENING NUMBER: Cut and swap. Absolutely doesn't make any sense. Who are these people, what are they singing about, where are they, what does this have to do with anything? Right now, the show truly begins with Amelie's childhood. One idea: establish the two lovers in the first number, before jumping back in time.

-DESIGN: Stunning and more impressively, they found a visual world as unique yet separate from the film. The projections were especially lovely in providing texture and whimsy.

-SCORE: I could divide it in thirds. One third was romantic, clever, and quirky - spot on. Another third felt the need to explain the subtext with awkward, ham-handed lyrics (the closing number, I'm looking at you). And the last third were solos that got so involved with their own pop-song-derivative emotional cliches, you had no idea what they actually were singing about or what was happening. The worst of these were the two 11 o'clock numbers for Nino and Amelie. During Nino's song, as he searches through Paris for Amelie, my date turned to me and asked, genuinely, "what is he talking about?" I had no idea. Near the end of the song, he holds a note incredibly long, with no clear reason, and the audience applauds his efforts. At that moment, I realized the creative team must have also realized this number was not stopping the show, but stopping the plot. So, why not distract them with a party trick?

-DIRECTION / CHOREOGRAPHY: When the direction worked, it was heightening, expressive, imaginative and heart-warming. Too often, it was effortful, busy, and clunky. I imagine much of this would be improved simply with another rehearsal period. But it matters because often the effort to keep the ensemble moving and cleverness continuing came at the expense of moments of genuine connection and heart. Too often, it was unclear why people felt the way they did, what they wanted, because -quick!- we have more staging shtick to pull off! I think there is ample opportunity for more choreography to help with this. It often felt like the cast ran out

-TONE: The show has a hard time deciding what the tone of the piece is. There is a irreverence that can be playful and fun (like the goldfish), but often tip over into being too ironic. For instance, the gnome song is a great expression of Amelie's playful prank on her father, whereas the Elton John number was implausible as an actual fantasy of Amelie's. So, instead of bringing us closer to Amelie, it comes across as the writers showing off their parody skills. Most notable, though, was the tongue-in-cheek wayt he ensemble would "ooh" and "aah" when the lovers are finally meeting, complete with giant hearts projected on the set. This overly ironic, borderline cynical approach completely betrays what the piece wants ten minutes later, which is for you to be swooning over the romance.

-SAMANTHA BANKS: Recast. A beautiful face but simply no where near expressive enough for this character. Throughout the show, when we should be growing closer to Amelie and watching her soul awaken, her desire to truly connect with the world and her heart, we instead see nothing.

 

[ChiTheaterFan]

Posted: 9/30/15 at 1:01pm

Going to be in SF and snapped up a ticket to this. I've never been to Berkeley rep--any suggestions on the easiest way to get there?  Is the BART station nearby?  Or is it easy to hop in a cab?  I'm more concerned about time/convenience than cost although I'd prefer not to spend a fortune on a black car. Thanks for any suggestions 

 

I am in a restricted view seat so I'm hoping it's not too bad--it was the last ticket available. 

[JBroadway]

Posted: 9/30/15 at 1:12pm

Very close to Downtown Berkeley Bart station. Just a couple blocks away. I'd definitely recommend that method. 

[ChiTheaterFan]

Posted: 9/30/15 at 1:14pm

Awesome thanks much!!

[broadwayboy223]

Posted: 9/30/15 at 6:41pm

I hope a cast album is recorded before the Broadway run. I'm just so curious to hear the music and Samantha Barks.

[JBroadway]

Posted: 9/30/15 at 9:40pm

I doubt they will, and I think they'd be smart in that decision. Better to wait until the show is a finished product.

 

(also a Broadway run is not guaranteed to happen)

[ChiTheaterFan]

Posted: 10/2/15 at 8:12pm

Since you Bay Area people are so helpful, any suggestions for restaurants within walking distance?  (Preferable seafood and/or outdoor dining.  Casual like crab sandwiches or chowder would be totally fine.  :))

[ChiTheaterFan]

Posted: 10/3/15 at 2:58am

So I saw this tonight and I have to be honest and say I did not care for it at all. I think it may have some promise but it needs a lot of work, and looking back at the posts from early in the run, it seems like they have not yet made some changes they should have made. (Spoilers below.)  I largely agree with Brick's review above--particularly with respect to the opening number.  (And Nico held that note so long I was wondering if it was supposed to be funny... I don't think it was.)

 

First, I have seen the movie but not since it was in theaters, and I honestly don't remember it at all except the vague concept, and I think this is one case where that hurt my enjoyment of it. They clearly tried to work in every single plot that is in the movie. Maybe if you saw the movie and were familiar enough with this it would work, but to me there was way too much and nothing was developed at all. I could get a sense it was going to be an issue from the opening song. (A fly?  A trapeze? A box?  What is all this? There was so much going on in that opening song and I had no clue what they were talking about). Then the rest of the show they tried to work them all in.  I just counted them up in my head and there were at least 7 plots in an hour and 40 minute show. They need to cut almost all of them. I think it would be much more effective if they focused solely on the relationship between Amelie and Nico, her father, and the painter. Cut the stuff about the trapeze lady, the weird random romance that pops up out of nowhere and consummates (literally) in the bathroom, the guy with the fruit (I still don't even understand what that was about), and maybe even the thing where she finds the box and tries to find its rightful owner. At the end when the painter tells her to stop fixing everyone else's problems and start living her own life my reaction was "oh, is that what they're trying to get across?"  I think they were trying to start that with her finding the box, but they didn't develop it and so it didn't work for me. Maybe I would've understood it if I'd seen the movie but I definitely did not get what the point was from the show on its own.  There was also some line about everything being connected, and I'm not sure they portrayed that through the stories either.  Overall, it felt like a lot of random stories with no central theme.

 

I think one area of the show that had a lot of potential that really fell flat was her dream world. I can see a creative team coming up with effects to show her escaping into her own world and presenting a really magical portrayal in stage. Instead to me it came across as very hokey. I mean all the sudden there was a dude dancing around stage in a dragon or lizard head or something? I don't get it. It felt amateurish. Maybe that's what they were going for, but to me it didn't work.  I understand that this isn't a huge-budget broadway show, but to me it felt almost like something a high school would do in terms of those aspects of it. Plus, it seemed like they kind of gave up in that about halfway through. Was that intentional?  Either do it consistently and make it an intentional theme or don't do it. 

 

The storyline with Nico was sweet and heartfelt, and definitely my favorite part.  (Although I'm not a huge fan of shows/movies where two characters never speak and then suddenly are in love. When Nico said he thinks she understands him I was thinking "oh come on."  That's such a common thing in shows, but I can overlook it in an otherwise good show.)But I felt like they didn't really get into it until the last 1/3 of the show because of all the busy subplots. I really think if they focused on that plot, with her relationship with her father and the painter tied in, and they came up with some better effects, this would have promise. Maybe what would help is if they let go of the movie a bit and just created a show with the same theme/central storyline, but without trying to stick too closely to the exact same story.

 

The performances were good. Samantha Barks has a gorgeous voice, but she wasn't my favorite in this role. My favorite performance was the painter whose name is escaping me.

 

Someone posted previously that the songs sound the same and I agree. They were completely indistinguishable to me. But now I can't actually remember what any of them sounded like. So I don't think the music was my cup of tea, but it wasn't terrible or anything. Just forgettable.  I can see others enjoying the music but it's not my favorite score.

 

So overall I could potentially like this if they made changes, but they'd have to be pretty major for me to want to see it again or be able to recommend it.

 

 

Updated On: 10/3/15 at 02:58 AM

[ChiTheaterFan]

Posted: 10/3/15 at 2:46pm

Update:  They sent me a survey to fill out regarding the show, which I did in a constructive manner.  I hope they take the feedback they're receiving from the audience and make changes, as I do think the show has promise!

[lite2shine]

Posted: 10/3/15 at 6:22pm

I saw the show again and I liked it better than the preview. I saw at the back of the theatre but in center so I could see the projection much better, and the opening song made sense for the second time. Funny thing is that the nun in the porn shop was shorten and I'm wondering if that's because I complained in the survey I filled out? LOL I doubt it but I'm glad they had a sense to take it out. Unfortunately it still doesn't have any French feel about it though. 

Re: ChiTeathrefan's notion that everything except Nino and Amelie should be deleted, then it's no longer Amelie musical. It's based on the movie, so they have to include these little episodes. And it's not a plot line it's just a background of different characters in Amelie's life. Everything you didn't like about is the quirkiness of the movie. And if you watch the movie again, you'll notice they took out two big episodes, and one of them is a plot about the fruit vendor owner, which is truly over the top even for a movie fan. If you didn't like the movie, it'd be difficult to buy in any of the musical version too. 

 

[ChiTheaterFan]

Posted: 10/3/15 at 6:50pm

I understand your point, but I do recall liking the movie when I saw it. It's not that I fault the inclusion of these--it's that they're not developed them, and I don't know how they could develop them all without making it an exceedingly long musical unless they delete a bunch of the songs or something. For example, the fruit vendor was still there but I have no idea how that was supposed to be quirky or even what it was about. All I got was there's a fruit vendor who disapproves of his son. It didn't seem quirky or interesting. They're not developed enough for you to understand them without a familiarity of the movie. If they can find a way to keep them but actually make me understand them, great. The way it was done I didn't find them to be quirky--they just felt awkward. I can see the idea of a trapeze artist who was hurt in the circus be really funny and cute especially if she then falls in love with Amelie's sheltered dad. (Was that what was supposed to be happening when Amelie introduced them?). But with the lack of detail about her character it just didn't get there for me because they tried to jam it into a single song. I'm curious if others who aren't really familiar with the movie would feel the same.  I can see how someone who knows the movie might enjoy it more because they can fill in the details from that prior knowledge. 

[lite2shine]

Posted: 10/3/15 at 7:01pm

I totally agree with you about the vendor, and I pointed it out in my preview post. Their two small scenes don't add anything except giving Perry a song. In the movie, Amelie meddles with the vendor owner but in the musical she doesn't so there is no need to place them in the show. They can cut 10-15 min by cutting these scenes.

[ChiTheaterFan]

Posted: 10/3/15 at 7:23pm

Exactly. And rather than cut 10-15 minutes, use it to add guts to the other plots. 

[thegourmez]

Posted: 10/3/15 at 11:26pm

I haven't seen the movie, and I enjoyed most of the little side character bits--especially the fruit vendor, or I guess I mean the fruit vendor's son? I thought he was just an employee, but I found his fruit love charming. I honestly thought he would be the romantic lead until Amelie hit the subway. I could get behind cutting out her father's romance, though. The point of him and the traveling gnome is just to show that he can open himself up and change, and he doesn't need to fall in love with a trapeze artist/cafe owner to do that. For the other small characters, though, they basically just gave us small character quirks--I don't any of them took significant time. I just took it all as establishing local color and the power of community is a part of the show's message, a big part of it.

I do agree about the chronology though--once Amelie decides to start making a difference in people's lives, the rest of the show, including the romance flies by and the life lessons don't feel earned because it could all have taken place over the course of a week as far as I knew. My advice would be to (a) yes, rework that opening number. No show should open with a song about a fruti fly; and (b) have Amelie already engaged in her good deed doings once we get to the modern day. We don't need quite so much of her being lonely in her apartment. 

But I enjoyed it a lot in its present condition! 

[ChairinMain]

Posted: 10/5/15 at 1:23am

I'm trying to get back to see the show before it closes next week...I saw it very early in previews, and I'm hoping to see what has changed since the first week. Has anyone seen it multiple times and can testify to any changes that have been made? 

[gstrus2]

Posted: 10/14/15 at 11:50pm

The show closes on Sunday in Berkeley. Any idea when they will announce the transfer (if it is happening)?

[Jabere]

Posted: 10/15/15 at 12:33am

I am just wondering if they should do a run in another city like seattle or chicago  before bringing it to broadway. It did wonders doing a 2nd run for many shows.