Theatergoers attending “The Notebook” on Broadway are in for an emotional rollercoaster. Based on the heart-wrenching novel by Nicholas Sparks, the musical adaptation is designed to bring audience members to tears. Indeed, tears are so expected that the show sells tissues at the merchandise counter. Sentimentality is at the forefront of this production, offering a much-needed excuse for viewers to shed a few tears in today’s world. However, while the musical effectively delivers on its promise of eliciting emotions, it falls short in terms of character development, specificity, and surprises.
The central premise of the production is reminiscent of the 2003 movie adaptation. An older version of Allie, played by Maryann Plunkett, has forgotten her decades-long romance with Noah, portrayed by Dorian Harewood, who recounts their love story from a notebook. Both younger and middle-aged versions of Allie and Noah also participate in acting out their shared past. While the broad theme of love conquering time is established upfront, the lack of distinguishing details regarding the characters weakens the overall impact of their story. There is nothing particularly unique regarding Allie or Noah, making them feel generic and lacking in depth.
A missed opportunity in the production is the exploration of race as a tool to enhance the otherwise vanilla plot. The casting of performers from various racial backgrounds allows for broader audience engagement and stretches the imagination. However, the colorblind approach to casting limits the narrative choices available, resulting in a weaker storyline that often feels disconnected and illogical. For example, teenage Allie and Noah meeting during the civil rights movement might have explained Allie’s mother’s disapproval. Unfortunately, the potential for exploring such dynamics is not fully realized.
The music composed by Ingrid Michaelson leans heavily into expressing emotions, with songs like “Sadness and Joy,” “I Wanna Go Back,” and “We Have to Try.” However, the lack of inspiration from various musical eras and the reliance on conventional acoustic guitar and violins result in a pleasant yet unremarkable contemporary sound. Similarly, the physical production, including the set design by David Zinn and Brett J. Banakis and the lighting by Ben Stanton, lacks an element of surprise or distinct flavor.
While the central love affair may satisfy fans of “The Notebook” nostalgic for the original story, the musical’s exploration of mortality resonates more deeply. The inevitability of death and its ability to separate even the strongest of loves is a universal truth that many can relate to. The show capitalizes on this emotional lever effectively.
Reflecting on the implications of “The Notebook” musical, it is evident that the production prioritizes sentimentality over character development and narrative depth. The missed opportunities to explore race as a narrative tool and draw inspiration from various musical eras result in a production that lacks uniqueness and falls prey to generic conventions. However, the emotional impact of the theme of mortality serves as the show’s saving grace.
