Written by ZiWen Gong for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review

“Nothing beats a first kiss”. This line is from the movie 50 First Dates. Now, 21 years after the film’s release, it has been adapted into a musical titled 50 First Dates: The Musical, written by David Rossmer and Steve Rosen, with direction and choreography by Casey Nicholaw. The musical had its world premiere at The Other Palace. However, this adaptation may not align with the expectations of those who were fond of the original film.

On a tranquil island, a playboy named Henry—content with keeping his relationships with women short and superficial—meets Lucy at a local diner. Whether it’s the way she builds little houses out of her pancakes, or her bright and optimistic outlook on life, there’s something different about her that Henry simply can’t ignore. The two share a joyful conversation, and before parting ways, they agree to meet again at the same place and time the following day. However, when Henry approaches Lucy’s table the next morning, she acts as if she has never seen him before. As it turns out, Lucy suffered a car accident that left her unable to form new long-term memories. Each time she falls asleep, she forgets everything that happened that day. And every morning, her memory resets to the day of the accident. To protect her, Lucy’s father, brother, and the staff at the diner work together to help her relive the same Sunday over and over, keeping her safe and happy. But Henry begins to question whether this is truly the best option for her. He not only wants Lucy to fall in love with him anew each day, he also hopes to help her reclaim the life that was taken from her.

Although the stage is not large, the design by Fly Davis is cleverly crafted. A small wooden structure on stage seamlessly transforms into several distinct settings. One side depicts Sue’s restaurant on the island, while the other side represents Lucy's home. The colorful lighting, designed by Aideen Malone, enhances the atmosphere of each scene, shifting from vibrant hues of red, pink, and warm yellow to the serene and romantic tones of blue."

However, while stage design and lighting are undoubtedly important, the heart of any production is ultimately the story itself. As I watched this piece, I found myself reflecting on what a successful stage adaptation of a film should be. I eventually arrived at this conclusion: one should first consider whether the original work presents opportunities for improvement through thoughtful modifications. If not, then remaining as faithful as possible to the source material might be the best approach. However, the current production of 50 First Dates: The Musical gives me the impression of having intentionally strayed from the original work. The changes made do not enhance the story much; rather, they diminish some of the subtlety and tenderness that characterized the original. After Lucy telling Henry that her favorite flowers were lilies, the next day, he showed up at her doorstep dressed as a deliveryman, holding a bouquet of lilies and a videotape he had made just for her; her father telling Henry that Lucy only paints while singing on the days she sees him; after the two finally got together, they shared their “first kiss” again and again; on the beach, Henry played the ukulele and sang her a song he wrote, calling her forgetful Lucy, though every line was filled with love; and after Lucy decided to break up with him to make his life easier, they sat together reading through Lucy’s diary entries about Henry one after another before quietly burning them together… It’s exactly these small, heartfelt details that make me feel both joyful and heartbroken. Yet many of these meaningful moments are either missing from the musical or rushed through far too quickly. The production also includes an excess of unnecessary comedy, which ends up undermining the emotional authenticity of the story. And while a few of the songs spark some interest in the moment, none of them leave a lasting impression once you’ve left the theatre.

Although the actors made an effort to portray their roles, most of the characters tend to feel somewhat flat. Sue (Aiesha Naomi Pease), the restaurant owner who constantly worries about Lucy, the father (John Marquez) who is exhausted, anxious, yet gentle with his daughter, the younger brother Doug (Charlie Toland) responsible for much of the comedy in the show, and Sandy (Chad Saint Louis), the waiter who seizes every moment to stand out in the crowd but is also a bit endearing. Lucy and Henry's characters are relatively more three-dimensional. Georgina Castle’s portrayal of Lucy is lively and charming, with a positive outlook on life, though at times, when expressing sadness, her emotions can feel slightly stiff and not entirely natural. Overall, Josh St. Clair’s portrayal of Henry stands out the most. He carries the playful charm, but once he meets Lucy, he becomes more serene and understanding, with a hint of subtle humor.

Overall, while the production does contain emotions that audiences can connect with, the pacing feels a bit rushed, as if a string of content has been crammed into a 1 hour and 40 minute runtime, missing out on many opportunities to add depth and authenticity. That’s not to say there aren’t merits to this work, but it’s a bit of a pity. With such a great film as its foundation, and a bit more refinement, it could have become a much more emotionally resonant story.

50 First Dates: The Musical runs at The Other Palace until 16th November 2025.

★★★

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