THE 2001 film Amelie has so many iconic scenes that it takes a brave person to adapt it for the stage.

Craig Lucas partly circumvents direct comparison in this musical version which, while maintaining the original’s surreal whimsicality, simultaneously makes it more physically grounded.

The basic story is untouched. Amelie, a lonely girl raised by a neurotic mother and iceberg father, spreads happiness in the lives of other people while ignoring her own needs. That changes when she meets the gently eccentric Nino and is forced to confront her own dream world.

At its strongest the production, directed by Michael Fentiman, shares the anarchic glee of companies like Kneehigh, with the 12-strong cast being actor-musicians.

It also makes striking use of puppets, including a suicidal pet goldfish and singing garden gnome, along with  musical pastiche —  Caolan McCarthy’s pre-interval  raucously funny Elton John impression is a highlight.

Audrey Brisson as Amelie combines a gamine air with steeliness, using her background in Cirque du Soleil to effortlessly ascend the split-level stage via a rising ceiling lamp.

Madeleine Girling’s art deco-themed design is beautiful and makes inventive use of such props, while Tom Jackson’s Greaves movement direction is equally enchanting.

Yet by the second act the constant motion starts to feel obtrusive, distracting from the emotional heart of the story and Daniel Mess’s music loses its charming folksiness to become more generic.

Despite this, and the occasionally unconvincing Allo Allo French accents, the staging and Brisson’s performance just about keep Amelie’s fairy-tale alive.

Tours until October 19, details: ameliethemusical.com.