A substantially transformed production, with new orchestrations, an expanded repertoire of songs, and new staging in the actor/muso style, opened on the West End in December 2019, at the Other Palace.

Critics praised its improvements on the Broadway version, with The Guardian describing it as "a triumph of adaptation"[1] "high on imagination",[1] while The Daily Telegraph lauded the "wonderful, wistful evening" it made.

[5][6] The musical opened at the Ahmanson Theatre in Los Angeles in a pre-Broadway engagement, running from December 4, 2016 to January 15, 2017[4] with Phillipa Soo taking over the role of Amélie.

[7][8] The cast for the Los Angeles and Broadway productions includes Adam Chanler-Berat, Manoel Felciano, and Tony Sheldon.

Fentiman and his creative team worked with original collaborators Messé, Tysen, and Lucas to amend the show, making changes such as splitting it into two acts separated by an intermission, the reinstitution of songs from out-of-town tryouts, and the reshuffling of scenes.

[19] The entire UK tour cast (with the exception of Mac, who was replaced by Jared) reprised their respective roles in the London run.

[28] This version of the musical will be produced by Morssinkhof Terra Theatrical and feature Dutch actress Christanne de Bruijn as Amélie.

Young Amélie is born to germaphobe father, Raphael, and to neurotic mother, Amandine, and she feels isolated and emotionally distant from her parents.

She has a quiet, happy life, and spends her time with her three co-workers: Suzanne, the café's owner and a past circus performer, Georgette, a hypochondriac, and Gina.

("The Commute") On the night of Princess Diana's death, Amélie discovers a box of childhood treasures belonging to the man who used to own her apartment ("The Bottle Drops").

She first meets with a cranky grocer, Colignon, who constantly abuses his assistant, Lucien, a mentally-ill young man that has an obsession with fruit ("Three Figs").

One day, she speaks to her neighbor, Julien Dufayel—an artist who suffers from a brittle bone disease, giving him the nickname 'The Glass Man'—and, possibly recognizing the box, tells her that Bredoteau is the incorrect name.

Amélie suddenly realizes she hasn't helped her father and visits him the next day and tries to convince him to leave home ("Backyard").

The travels encouraged Raphael to step out of the house to look for him, and Amélie uses the opportunity to get him to relax and embrace the change, while introducing him to Suzanne, who he falls for.

Meanwhile, Nino has been searching Paris for Amélie, and handing out posters with her photo on them to anyone he sees, wondering how he's fallen for someone who doesn't want to be found ("Thin Air").

While doing another of her good deeds—spray painting a quote from one of Hipolito's poems on walls around Paris—Amélie notices the flyers and runs home, sending Nino another photo and instructions to meet her at the Montmartre Carousel.

At home, Dufayel tries to talk to Amélie, but she angrily tells him to stay out of her business, not stopping to hear that he has finally gotten out of his rut and painted a unique picture: a portrait of her.

A funeral is held shortly after, and Raphael makes a shrine for his wife's ashes, including a garden gnome that reminds him of her ("Post Mortem").

The staff and customers are all caught in a routine of dissatisfaction: Hipolito, an unpublished novelist; Georgette, a lonely tobacconist who suffers from hypochondria; Gina, a waitress who obsessively rereads love letters from her late husband who abandoned her for his secretary (the two flying off to South America only to be killed in a plane crash); Joseph, a plumber who is stalking Gina after one failed date a year earlier; Philomene, an airline stewardess who leaves her cat with Amélie while she's away; and Suzanne, the proprietress who previously worked as a trapeze artist until her partner dropped her, causing a career-ending injury.

Returning home, Amélie meets Nino once more at a different metro station and he takes note of the mysterious box she holds, but runs off in pursuit of someone he thinks he recognizes.

Elated by her success, Amélie returns home to watch the funeral of Princess Diana on TV, imagining herself as a world-famous do-gooder who also dies too young.

Dufayel asks Amélie why she didn't speak to Nino; dismissing him, she thinks back to a geometry lesson her mother taught her as a child, a metaphor for how true connection with others is impossible ("Halfway").

Collignon comes in with Lucien; Amélie, unable to stomach the cruelty he shows his assistant, feeds him a fig tart, causing him to hallucinate a nightmare.

Amélie travels around Paris, spray-painting quotes from Hipolito's unpublished works and reflecting on her journey thus far ("Times Are Hard For Dreamers").

Dufayel calls, telling her to look out of her window; he shows her that he had finally painted an original work of art: a portrait of Amélie.

A repairman shows up and it is the man in all of the photos, test runs to check that the booth works properly; Nino thanks Amélie for solving the mystery.

As they take photos in the newly fixed booth, Amélie and Nino reflect on their newfound happiness and wonder what the future holds for them.

[32][33] * New material; † Not included on Original Cast Recording; ‡ Reinstated from out-of-town tryouts Source: Spotify The San Francisco Chronicle gave the Berkeley production of the show a rave review, saying "wit crackles and charm fills the house…in this seamless blend of visual, narrative and performance delights.

According to The New York Times, "The musical, adapted from the 2001 film about a shy but whimsically altruistic French waitress, had struggled at the box office since opening to underwhelming reviews.

"[36] The London production received much more positive reviews, with many praising the re-orchestrations, the actor-muso approach, and Audrey Brisson's lead performance; WhatsOnStage called the show "a fanciful Valentine to the City of Light, and...a celebration of the unbeatable power of live music".