Review: AMÉLIE THE MUSICAL BY WITCH MUSIC THEATRE at The Hannah

Amélie The Musical is based on the beloved 2001 French romantic comedy film Amélie, directed by Jean-Pierre Jeunet. The stage adaptation premiered in September 2015 at Berkeley Repertory Theatre before transferring to Broadway, where it opened on April 3, 2017, at the Walter Kerr Theatre. Despite closing on May 21, 2017, after 83 performances, the show found new life in London’s West End, earning three Laurence Olivier Award nominations in 2020, including Best New Musical.

Set in Paris during the 1990s, the story follows Amélie Poulain, a shy and imaginative young woman who lives quietly but vividly in her own mind. After a lonely childhood with eccentric parents, she becomes a waitress in Montmartre. Her life takes a turn when she discovers a hidden box of childhood treasures in her apartment and decides to return it anonymously to its owner. This small act of kindness sparks a mission: Amélie begins performing secret good deeds — helping a hypochondriac coworker, matchmaking lonely souls, and brightening lives in subtle ways. But when she meets Nino, a quirky young man who collects discarded photo booth pictures, Amélie realizes that helping others is far easier than opening her own heart.

The set, designed by Ben Tucker-Emerson, is deceptively simple: a shopfront with a photo booth on one side and a staircase leading to Amélie’s apartment on the other. Lighting by Alex Fisher was well executed, with only minor timing delays that will no doubt be smoothed out as the season progresses. A standout moment during the opening number, where a pinpoint of light highlighted a photo strip that Nino picked up — a subtle but effective touch. Costumes, also by Ben Tucker-Emerson, were well presented and added polish to the production.

The music, under Hayden Taylor’s direction, was vibrant and the musicians were excellent. However, the balance between music and dialogue was occasionally off, with the score overpowering lyrics and making some passages hard to follow — especially when paired with French accents.

Directors Maya Handa Naff and Nick Lerew deserve credit for their seamless scene transitions and natural movement of the cast. Their attention to character detail was evident throughout, creating a production that felt cohesive and heartfelt. Choreography by Leigh Evans complemented the storytelling, enhancing key moments without feeling forced.

Rachel McSweeney was delightful as Amélie, capturing the character’s quirky charm with apparent ease. Henry Ashby brought warmth and sincerity to Nino. The ensemble shone in multiple roles, with standout performances from Monēt Faifai-Collins, whose rich voice and expressive delivery were a highlight, and Bethany Graf, who made the most of every scene she appeared in. Frankie Leota delivered the song of the night for me, The Girl with the Glass, though many might choose William Duignan’s brilliant rendition of Goodbye Amélie at the end of Act One as their favorite.There were no weak links in this cast; each performer brought talent and commitment that elevated the production.