Review by Stephen Visser
It was this reviewer’s pleasure to be treated to a night of theatre at Flint Community Players on Saturday night to Amélie; a musical adaptation of the incredibly whimsical film of the same name.
Amélie features music by Daniel Messé, lyrics by Nathan Tysen and Daniel Messé, and a book by Craig Lucas. We’ve come to expect a level of charm from the Flint Community Players. From their message board that deconstructs whatever show is currently on the marquee to the floating Playbills© that offer a glimpse of the rich cultural texture that the organization has provided the community for the last 95 years; we can always count on FCP to provide a delightful night of theatre. And Director Zachery Wood’s fanciful and beautiful rendition does not disappoint.
While I do possess a self-proclaimed (and unwarranted) superiority complex when it comes to the English language, it does not translate to French. So please take pity on me as I navigate through these challenging é-acutes to give all creatives and characters their necessary credit. Let’s start with the set design because it was one of my favorite parts. So, my rules. I must bow down to KIROLOUS MESHRAKY (Set Design) in combination with REMY TREECE (Set Art Design) for their artistic prowess. I cannot overstate how perfectly these artists were able to accomplish the whimsical elements of this show so seamlessly. From the adorable hearts that made an appearance every time Amélie and Nino’s paths crossed in a very serendipitous manner to the floating leaves on the set that forced the audience to stop and feel the breeze of this beautiful love story; the artistic design team’s efforts should be congratulated.
The physical set, dominated by many entrances and exits in a completely moveable fashion, served this script well as the show heavily relies upon moving from thought to thought quickly. There were many instances where these transitions were so beautiful (like the goldfish scene) that Wood utilized his ensemble well to accomplish this. And anyone attending this show will not easily forget the transition into Nino’s place of employment. That’s all I will say about that. However, I did find myself wanting more in a few other scenes where the pace of the show got somewhat halted by the sound of the wheels of set pieces moving abruptly. These instances were few and far between.
When using canned (pre-recorded) music, as opposed to a live band, there are specific challenges that arise especially with balance. While the balance was labored in some songs over others, it would appear that the Sound Designers (MEGAN WOOD and ZACHERY WOOD) navigated this pretty well. There is a part of me that wonders if this could have been combatted more efficiently with live musicians. The sound designers’ inclusion of all the other sound effects throughout the show seemed perfectly placed and aligned the sound design quite appropriately with the fanciful nature of the show.
The Lighting Design of this show similarly worked in coordination with the other elements of the show to bring forth the colorful elements of the love story. The Lighting Designer (MATTHEW CREMEANS) did a wonderful job bringing forth the colorful aspects of this story. There were some instances throughout the show where we lost the lighting of key players faces, and this may just be a symptom of such a quickly transitioning show, but overall it appears that the lighting design brought Wood’s vision to life appropriately.
RYAN FILPANSICK and ALEXANDER STIMSON’s costume design was everything. It provided the show with the perfect amount of nuance to bring forth the characters of the story which are at the heart of this story. From Gina Well’s stark, black domineering get-up to Georgette’s newsprint dress placed opposite that lovely green blouse; this team understood the assignment.
Amélie Poulain (FAE HALL) is at the very heart and soul a dreamer. We are forced to fall in love with her naivety, and all of her eccentricities. HALL fits the bill perfectly, bringing comedy and mischief to the character flawlessly. Her incredible singing voice offers moments of nuanced interpretation. She is beautiful. She is lovely. And her performance, though not what we have come to expect from the role, was memorable in the best of ways. HALL’s interpretation of Sister’s Pickle was among some of the best I’ve ever seen.
Similarly, Nino Quincampoix (ADAM COGGINS) interpretation was impeccable. I have had the opportunity to see COGGINS onstage a few times, but in this role, we really got an opportunity to see just how sophisticated his acting chops have become. He is tender, flighty, argumentative, and beautiful in many moments of the show and transitions through these emotions wonderfully. And if that’s not enough to hate him for, there is that silky smooth tenor prowess that just floats out of his instrument effortlessly.
Let’s talk about Suzanne Sacripant (LELE MILLER), Gina Wells (TAYLOR BOES), and Georgette Cornuel (ANNIE LESLIE). These three women were absolute standouts in this production. MILLER’s interpretation of Sacripant is boisterous, and comical, is all about the timing which she conquers perfectly. BOES’s Wells may be my favorite part of this entire production. She is shrill, calculated, and could honestly teach a masterclass in diction. And when she sings, it is pure beauty.
Finally, LESLIE’s interpretation of Cornuel is hilarious. From her constant gagging to her impromptu bathroom trysts she will leave you in absolute stitches. But her superpower is her crystal clear, beautiful singing voice which is unrivaled by anyone in this production. Together these strong, beautiful, musically adept women come together to provide the most memorable moment of the night with their rendition of “A Better Haircut” which I may or may not have been listening to all day today and wanting a recorded version of their rendition. It was THAT good! Congratulations ladies.
Other standout performances include AVA MCQUADE’s Young Amélie. She is absolutely fantastic and sets the tone of the show early on. JESSE GLENN and LISA TREECE’s interpretation of Amélie’s parents is spectacular. GLENN’s immovable personality and TREECE’s beautiful soprano voice complement each other quite nicely. EMMA ORR’s imaginary friends are terrific. You will not be able to unsee her dying face as the goldfish or her goofy, high-energy interpretation of the gnome too easily.
JORDAN CLIMIE’s Dufayel is truly incredible. He is a beautiful character that Amélie encounters, and his interpretation is absolute perfection. He is the perfect mentor for her and may have made me cry when he pulls out the painting at the end. HALLE HOOVER’s puppeteer is beautiful, balletic, and just the perfect amount of nuanced whimsy to tie all of the characters in Amélie’s universe together. GRAHAM PARKER and JASON BROWNFIELD provide wonderful comical relief. PARKER’s Jenuet is specifically memorable, and he brings an uncontested charm to the character. Finally, LEROY RUSS’ remarkable singing voice brought forth a beautiful, tender nature to the characters in Amélie’s head.
But perhaps one of the best facets of this show is the truly hard-working ensemble who effortlessly brings forth all of the moments of Amélie’s imagination to life. SARAH EDGERTON, TESSA ISSACSON, RHEA TREECE, TODD CLEMONS, MICAH BLUMNER, AUDRA AUSTIN, LEVI BROWNFIELD, KAT GEE, ALEXANDER STIMSON, and JESSI ELDRIDGE work together to bring countless characters to life. ELDRIDGE’s many distinct characters are specifically noteworthy.
Zachery Wood has truly outdone himself with his incredible rendition of Amélie. The finished product is full of beauty and authenticity. Megan Wood is credited as dramaturg, and the authenticity lends to a terrific amount of work on her part. While the artistic choices of the production draw in the most daft of theatergoers; the incredible vocals, coordinated by CHRISTOPHER RODRIGUEZ, should not go unmentioned.
Amélie continues at Flint Community Players through January 21st.
For tickets, visit flintcommunityplayers.com or call The Box Office at 810-441-9302.
Flint Area Theatres 