50 First Dates: The Musical AT THE OTHER PALACE, LONDON

Heartwarming, fun and undeniably cute…but it could use a little more spark.

Back in 2004, Drew Barrymore and Adam Sandler charmed rom-com lovers around the world with 50 First Dates, a quirky, feel-good comedy about love, memory and second chances. The film follows Henry Roth, a commitment-phobic man who unexpectedly falls for Lucy Whitmore, an art teacher with short-term memory loss. Each morning, Lucy wakes up having forgotten the day before and Henry makes it his mission to win her heart again every single day.

I’ll admit, I’ve never actually seen the original movie, so I went into this stage adaptation with no expectations or knowledge of what references might have been left out. What I discovered was a sweet, sincere musical filled with heart, playful (if slightly cheesy) humour and a few genuinely touching moments. It was an enjoyable evening overall, but something didn’t quite land for me. The show has plenty of charm, it’s endearing and fun but just a little bit of extra magic is missing.

From the moment you step into the auditorium, the atmosphere is warm and inviting. Projections of various couples’ holiday selfies are displayed across the stage and on a large central structure, all set to charming ukulele covers of classic love songs like Just the Two of Us. It's clear from the outset, love is the heart and soul of this show. When I first saw the large structure centre stage, I couldn’t help but wonder if it would stay put the entire time or transform somehow. The Other Palace is an intimate venue with a relatively small stage, so I was genuinely impressed when the structure smoothly rotated to reveal a bustling cafeteria. Two additional set pieces glided in from either side to complete the scene, creating a surprisingly expansive café setting. Even more impressive, the central structure continued to revolve throughout the show, cleverly transforming into a front porch and later, a bedroom. These seamless scene changes were executed quietly and efficiently, showcasing the ingenuity of the backstage crew, especially notable given the compact space they had to work with.

The production is directed by Casey Nicholaw, whose impressive accolades include Broadway hits like Mean Girls, Spamalot, Aladdin, Some Like It Hot and The Book of Mormon. With multiple Tony nominations and wins under his belt, I was eager to see how his signature style would shape this new musical. While the show itself may not be groundbreaking, it has a light, fluffy charm and Nicholaw’s direction plays a big part in that. His choices help highlight the humour and heart of the production, keeping things lively and fun throughout. One of my favourite touches was the café seating, which was cleverly mounted on wheels. Each time the café setting returned, the tables and chairs would glide onstage like bumper cars, bringing an extra dose of playful energy to the scenes.

Credit: Pamela Raith

I was surprised to learn that the show runs for 90 minutes straight through without an interval. This format has become more common in modern musicals with shows like SIX and Come From Away also embracing the no-interval structure and in many cases, it works really well. However, in this case, it felt more like the absence of an interval was due to a lack of material rather than a creative choice. The script is charming, but it takes quite a while before Lucy’s memory loss is revealed to Henry, a key turning point in the plot. Not long after this moment, there’s a fun and energetic montage-style number where Henry tries out various date ideas to help Lucy remember him. It struck me that this could have made a great Act One finale, providing a natural midpoint before shifting into the more emotional territory that follows. Structuring the show in two acts might have allowed for deeper development of the story’s emotional core.

The book, music and lyrics for the show were all written by David Rossmer and Steve Rosen, a creative duo I wasn’t previously familiar with. Overall, I think they did a solid job. There were a few standout songs one in particular, sung by Ukelele Sue, was genuinely moving and emotionally resonant. It was one of the rare moments where the score truly landed with impact. On the other hand, some of the more upbeat numbers veered into overly cheesy territory. The opening number, for instance, felt a bit too energetic and chaotic for my taste; I remember thinking, “Oh no, is this what we’re in for?” Thankfully, the tone settled after that and many of the subsequent songs carried more charm and sincerity. Still, the high-energy tracks often felt more irritating than enjoyable to me. Given how strong the cast is, it’s a shame the score doesn’t provide more opportunities for them to really showcase their vocal talents. There was also a noticeable absence of a powerful 11 o’clock number, something that could have delivered a lasting emotional punch. By the end of the show, I realised that none of the melodies had really stuck with me. The songs were pleasant enough in the moment, but ultimately forgettable.

As mentioned earlier, the cast in this production is undeniably strong and a few standout performances truly elevated the show. One of the most memorable came from Chad Saint Louis as Sandy, the Disneyland-obsessed waiter. Chad brought such warmth and charm to the role, he was instantly endearing and quickly became a crowd favourite. His stage presence was electric and his powerhouse vocals stood out as some of the best in the show. Every time Sandy stepped on stage, you could feel a noticeable lift in the audience's energy. Chad balanced sharp comedic timing with real emotional depth, particularly in a recurring moment where he has to introduce himself to Lucy each day as “the new waiter.” The first time you realise he’s introduced himself to her for a second time, there's a quiet emotional weight that hits and Chad handles that moment with a beautiful, understated sincerity. It's these small, human touches that made his performance so memorable.

Credit: Pamela Raith

Aiesha Naomi Pease shines as Ukulele Sue, the owner of the café where much of the show takes place. Her powerhouse vocals are a highlight throughout and one particular number she performs was genuinely moving, one of the few moments that brought tears to my eyes. She sang with heartfelt passion and deep empathy, effortlessly delivering beautiful gospel tones. Ukulele Sue’s character is initially more abrasive toward Henry, fiercely protective of Lucy and wary of outsiders. This creates plenty of humorous moments as she delivers playful jabs at Henry throughout the show. Aiesha brings a wonderful balance to the role, her abrasiveness never feels mean-spirited but rather funny and endearing.

Josh St Clair takes on the role of Henry, and for me, he truly shines in the romantic and emotional moments. He brings a genuine warmth and charm to the character that makes you root for him to “get the girl.” His singing voice is also excellent, adding depth to his portrayal as the romantic lead though as mentioned before, I don’t think the score gave him enough to play with. While Josh handles the comedic scenes competently, I felt that his timing and delivery didn’t quite hit the mark for me. The funny moments didn’t always land as strongly as the more heartfelt ones, though I was pleased he never felt like a mere caricature of Adam Sandler, he definitely made the role his own. Overall, Josh’s strengths lie in his sincere, likable portrayal, which carries much of the show’s emotional weight.

Georgina Castle takes on the role of Lucy, fresh from playing Regina George in the West End production of Mean Girls and from the moment she steps on stage, she’s instantly likeable. Her portrayal of Lucy is warm, sincere and deeply endearing, making it easy to see why Henry falls for her so quickly. Georgina brings a quiet strength to the role, never veering into melodrama. Each time Lucy is confronted with the reality of her memory loss, her reactions feel raw and genuine, adding emotional weight to scenes that could have easily slipped into cliché. What stood out most was how rarely the show used her condition for cheap laughs, instead, it was treated with sensitivity, often resulting in genuinely moving moments. Her performance is beautiful and her vocals are equally impressive, soft, clear and full of feeling. Georgina truly embodied the role, delivering both vulnerability and charm with grace.

Credit: Pamela Raith

I won’t spoil the ending, but as the show was drawing to a close, I found myself thinking, “I’ve made it through without crying.” But then, in the final moments, just before the lights went down, Lucy does something so simple yet profoundly moving, it completely caught me off guard. It was, for me, the most beautiful and hopeful moment in the entire show and it left me genuinely welling up.

This was a surprisingly difficult show to review, largely because it has so much potential to be truly excellent. I genuinely enjoyed my time, I laughed, teared up at moments and appreciated the heartfelt performances. The cast earned a well-deserved standing ovation and rightly so. The story is heartwarming, with a premise that’s perfect for rom-com fans. It balances light comedy with moments of emotional depth and there's plenty to enjoy. But ultimately, something just doesn’t quite land the way it should. The script and score, while charming, feel like they need a little more development, just a bit more care and refinement to elevate the show from good to great. Right now, this romantic musical feels like it's still finding its footing. With some time and a bit more love, it could grow into something truly special. But for now, it feels like a show that needs to go on just a few more dates before it finds true love or else may risk being forgotten.

⭐⭐⭐

SEAT REVIEW

The Other Palace, London - Stalls F17

Fantastic view of the stage, it doesn’t get much better than this in the theatre. You won’t miss a thing, and facial expressions are clearly visible throughout the performance. The legroom and seating can become a bit uncomfortable over time, but overall it’s not too bad.