50 First Dates - World Premiere - The Other Palace REVIEW

We’ve entered the era of adapting much-loved early-noughties rom-coms for the stage, and it’s now the turn of the Adam Sandler and Drew Barrymore classic 50 First Dates. Making its world premiere at The Other Palace, the production is led by Georgina Castle and Josh St. Clair in the central roles.

The story has been updated for a 21st-century audience by American writers and lyricists David Rossmer and Steve Rosen. Some of the more unstageable or dated elements of the film have been removed - no walruses or penguins here, and thankfully no problematic comic relief sidekick. Instead, Henry Roth (Josh St. Clair) has been reimagined as a globe-trotting influencer, living a restless, commitment-free life both geographically and romantically.

Everything changes when he encounters Lucy in a café, amusing herself by building houses from her breakfast waffles and finishing the final pages of Little Women. When he returns the next day to pursue this newfound crush, Lucy fails to recognise him. Café owner Ukulele Sue (Aiesha Naomi Pease) explains the heartbreaking truth: Lucy suffers from amnesia after a car accident and relives the same day repeatedly, unable to retain new memories.

Henry is torn between his wanderlust and his deepening affection for Lucy, with much of the heart of the show resting on the chemistry between Castle and St. Clair. Both deliver strong performances, particularly vocally, which gives the love story its emotional weight.

Chad Saint Louis stands out as the café worker who re-introduces himself to Lucy every single day. With a powerful voice and flamboyant energy, he injects the production with bursts of fun, though some of his Disney-inspired gags may fly over the heads of those less familiar. Comedic relief also comes from Lucy’s family, particularly through Doug (Charlie Toland).

Unfortunately, the musical numbers are serviceable but unmemorable. They’re pleasant in the moment, but none linger in the mind afterwards, and the lack of choreography means the staging can feel somewhat static.

The plot is still a little wobbly and the medical logic is dubious at best, but this is hardly the point. The aim is clearly to provide warm, lighthearted escapism, and on that front the production succeeds. Still, it falls short of being truly distinctive or enduring. 50 First Dates is enjoyable and easy to watch, but unlikely to leave you longing to see it again.