Review: AMÉLIE at Kokandy Productions

With AMÉLIE, Kokandy Productions has turned an obscure musical into a charming and intimate production sure to give the warm fuzzies. Based on the 2001 film of the same name (notably starring Audrey Tatou in the title role), Kokandy Artistic Director Derek Van Barham’s staging captures all the charm and whimsy of its source material (and, to my mind, improves upon it even more with the musical treatment). With book by Craig Lucas, music by Daniel Messé, and lyrics by Nathan Tysen and Messé, the show sweeps audiences up into the tale of the quirky Amélie and her desire to become a “do-gooder” and improve the lives of those around her.

While the original Broadway run had lukewarm reception, the show underwent revisions during a recent West End run. While most Broadway reviews said the musical lacked the signature charm and liveliness of the film’s iconic score, I’m happy to report Kokandy’s production encompasses that whimsy. With music direction by T.J. Anderson and Anna Wegener, this production has the full John Doyle treatment — in that the actors also play the instruments. This “DIY” feel, coupled with the intimate staging that puts audiences right into the Two Windmills Café where Amélie works as a server, give the show an appropriately cozy feel. I was especially delighted that the musical arrangements heavily featured an accordion — that sound is so true to AMÉLIE ’s essence. The tinkling of triangles and a xylophone also mirror the lighthearted quirk of the character.

Of course, AMÉLIE can’t succeed without a delightfully winsome performer as its protagonist. Aurora Penepacker is an absolute winner. She tackles the role with plenty of punch and aplomb; she’s precise in her movements and especially in her gorgeous vocals, but she also captures Amélie’s general airiness and pluck effortlessly. She’s genuinely magnetic, flitting from moment to moment and song to song with grace. Her performance of Amélie’s second act solo “Times Are Hard for Dreamers” is especially touching.

Penepacker’s in good company with the other eleven ensemble members sharing the stage. Joe Giovannetti is quietly quirky and sweet as Amélie’s love interest Nino Quincampoix, a man she keeps running into (and who has a bizarre habit of collecting discarded photos from the photo booth in the Paris Metro). While I didn’t think Penepacker and Giovannetti had much in the way of chemistry, their performances remain incredibly charming individually. And the show generally channels more feel-good vibes than deep romance. Mizha Lee Overn is particularly enjoyable as Amélie’s hypochondriacal coworker Georgette, who Amélie sets up with the broody Joseph (Quinn Rigg). Todd Aulwurm, Lucas Burr, Rachel Carreras, Sonia Goldberg, Sam Hook, Jon Patrick Penick, Samantha Ringor, and Kelan M. Smith round out the cast as other key figures in Amélie’s life — her parents, coworkers, and neighbors. This cast harmonizes extremely well, lending a folksy and welcoming vibe to the ensemble numbers. 

All in all, AMÉLIE is as charming and sweet as its protagonist. While Messé and Tysen’s score isn’t all that memorable, the general feel-good energy and the lyricism of the songs serve the characters and storyline well. Penepacker is a delight through-and-through — she makes you eager to see what Amélie will scheme up next on her list of good deeds.

Kokandy Productions’ AMÉLIE runs through September 28, 2025 in the Chopin Downstairs Studio, 1543 West Division.