Romantic comedies rarely translate to the stage with the same charm they possess on screen, but 50 First Dates: The Musical, now playing at The Other Palace, manages to capture the heart of the beloved 2004 film while giving it a fresh, contemporary twist. With book, music and lyrics by David Rossmer and Steve Rosen, and direction from multi-Tony Award winner Casey Nicholaw, this world premiere production is a vibrant, emotional ride that proves love really can conquer all, even memory loss!
Fans of the film will know that the story follows Henry Roth, a commitment-phobic travel blogger/influencer (in this version), who falls for Lucy Whitmore, an art teacher living with short-term memory loss. Each day, Lucy wakes up having forgotten the previous one, forcing Henry to win her heart anew every morning. It’s a premise ripe for musical adaptation, and Rossmer and Rosen’s score delivers with catchy, uplifting numbers and poignant ballads. “Key Largo” stands out as a highlight, encapsulating the show’s emotional core with warmth and wit.
Josh St. Clair gives a compelling performance as Henry, leaning into the character’s selfishness early on, though the writing makes it difficult to root for him until much later. Georgina Castle is outstanding as Lucy, balancing vulnerability and strength with ease. Her portrayal brings depth to a character who could easily be reduced to a plot device, and she earns every moment of the audience’s empathy.
The real scene-stealer, however, is Chad Saint Louis as Sandy. Reimagined as a narrator of sorts, Sandy guides us through the story with Disney World puns and exuberant musical numbers. Saint Louis’s charisma and comic timing elevate the production, injecting energy whenever the pace begins to lag.
The musical runs at 1 hour 40 minutes straight through, a curious choice given its clear two-act structure. This decision results in a first half that feels slow and a second that rushes through emotional beats. A traditional interval might have allowed the audience to better absorb the story’s tonal shifts.
Visually, the staging is clever and effective. Fly Davis’s set and costume design, complemented by George Reeve’s projections, creates a seamless blend of physical and digital that enhances rather than distracts. The tropical setting is evoked with charm, and the transitions between scenes are fluid and engaging.
While the score occasionally leans too heavily on belting numbers, the music remains a strength throughout. The emotional resonance of the story is surprisingly powerful, with moments that genuinely tug at the heartstrings. It’s a testament to the production’s sincerity that it never feels manipulative, even as it explores themes of memory, identity and unconditional love.
50 First Dates: The Musical is a heartfelt, funny and surprisingly moving adaptation that proves some stories are worth reliving again and again. This is a beautifully told love story that hits all the right notes.
