‘THE NOTEBOOK’: Jordan Tyson. Photo: Julieta Cervantes.

THE NOTEBOOK
Based on the novel by Nicholas Sparks
Book by Bekah Brunstetter
Music and lyrics by Ingrid Michaelson
Directed by Michael Greif & Schele Williams
Gerald Schoenfeld Theatre
236 West 45th Street
(212-239-6200), www.notebookmusical.com

By David NouNou

Eternal love is about the highest ideal a couple can achieve in life: To be there for each other from the onset of their first meeting to their final days. Nicholas Sparks wrote the novel The Notebook on which this musical is based in 1996 when he was 28, and it has endured with readers and moviegoers for nearly 30 years now. However, the Broadway adaptation of the hit book and film is problematic indeed.

The story consists of the three periods in the life of Allie and Noah. They meet in a coastal town in the Mid-Atlantic in the late 1960s where teenagers Younger Noah (John Cardoza) meets Younger Allie (Jordan Tyson) at a picnic with friends and knows she is the girl he’ll marry. Allie is there for the summer with her rich family, Noah works in his father’s lumberyard. Her family looks down on him. He was forced to enlist in the army because her parents were claiming he abducted her and he risked being thrown in jail.

Ten years pass. Middle Noah (Ryan Vasquez) and Middle Allie (Joy Woods) reunite in the late 1970s. Unbeknownst to Allie, Noah wrote her letters for 10 years but she claims she never received them. Of course, her mother hid them from her, and now Allie is engaged to be married to a rich defense lawyer. She reads in the paper that Noah is alive and has bought the home he was building for them and refurbished it as planned. She takes a leave of absence for a few days from her engagement to clear her mind and rekindle what may have been lost. Lots of recriminations here. Until Allie gets the letters handed over by her mother.

Part three is Older Noah (Dorian Harewood) and Older Allie (Maryann Plunkett). Allie is in an old-age facility, suffering from dementia. She doesn’t realize that Noah is her husband. She has good days thinking of him as a friend and days she has no idea who he is. Noah is persistent. He reads the notebook journal that Allie has written to constantly remind her of their lives together so that one day she will remember and come back to him.

The love story is bearable and one wants to believe in this magical love; it’s the execution that is mind-numbingly awkward. From the poorly written book by Bekah Brunstetter and the unremarkable and forgettable music and lyrics by Ingrid Michaelson, one only wishes there was a large scissor to cut out the text and the score so we could sit with Older Allie and Older Noah and just let them try to find themselves and have that glimpse of recognition.

Which brings me to Maryann Plunkett and Dorian Harewood—God bless them. Ms. Plunkett and Mr. Harewood are the saviors of the show. Without them, you have one of the most unremarkable cast ensembles assembled. With hardly any stage presence or even investment in character, cast members just meander on and off the stage in puddles, water and rain. What’s astonishing is that The Notebook needed two directors—Michael Greif and Schele Williams—to keep the cast moving on and off stage without bumping into each other.

Imagination is in short supply here. Look at the dreary Playbill cover; it will tell you nothing. One just has to be grateful for the professionalism and stage presence of Maryann Plunkett and Dorian Harewood and be satisfied with them.

Edited by Scott Harrah
Published March 22, 2024
Reviewed at March 21, 2024 press performance.

‘THE NOTEBOOK’: Maryann Plunkett & Dorian Harewood. Photo: Julieta Cervantes.

‘THE NOTEBOOK’: Joy Woods. Photo: Julieta Cervantes.

‘THE NOTEBOOK’: Maryann Plunkett & cast. Photo: Julieta Cervantes.

‘THE NOTEBOOK’: The cast. Photo: Julieta Cervantes.

‘THE NOTEBOOK’: John Cardoza & Jordan Tyson (front) & Ryan Vasquez & Joy Woods; & Dorian Harewood & Maryann Plunkett. Photo: Julieta Cervantes.

‘THE NOTEBOOK’: Jordan Tyson & John Cardoza. Photo: Julieta Cervantes.

‘THE NOTEBOOK’: Ryan Vasquez & Joy Woods. Photo: Julieta Cervantes.

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‘WAITRESS’: (left to right) Keala Settle, Jessie Mueller & Kimiko Glenn. Photo: Joan Marcus

WAITRESS
Book by Jessie Nelson
Music & lyrics by Sara Bareilles
Based on the motion picture by Adrienne Shelly
Choreography by Lorin Latarro
Directed by Diane Paulus
Brooks Atkinson Theatre
256 West 47th Street
(877-250-2929), www.WaitressTheMusical.com

By David NouNou

Formulated with flour, baked with butter and sprinkled and seasoned with sugar are not only the ingredients of the pies that are baked in Waitress. They are also the ingredients of the show itself and showered all over with love.

Based on the 2007 movie of the same name, Waitress easily translates to the musical formula and is hugely influenced from a female perspective because its creators, book, score and direction, are all women. If you recall the 1970s sitcom “Alice” with Linda Lavin, and Mel’s Diner, it had a feminist point of view that was refreshing for its day. Waitress has updated that version and the notion women can ultimately have and do it all.

The indefatigable Jessie Mueller is Jenna, working in a diner in the American South. She is in a loveless marriage with her abusive husband Earl (Nick Cordero). Her gift is making the pies her mother taught her. In this diner, instead of the gruff and lovable cook Mel and the two besties: loudmouthed Flo and dimwitted Vera, we now have the gruff and lovable cook Cal (Eric Anderson). The besties are loudmouthed Becky (Keala Seattle) and naïve Dawn (Kimiko Glenn), both of whom are there to support Jenna during her destructive marriage and her unplanned pregnancy.

Also on hand is the handsome and married gynecologist, Dr. Pomatter (Drew Gehling), with whom Jenna has an affair during her pregnancy. The ever lovable showstopper Christopher Fitzgerald as Ogie, pursuing Dawn, and the curmudgeonly Joe, owner of the restaurant, are the characters who round out this talented cast.

The book by Jessie Nelson is serviceable; the score by Sara Bareilles is not very compelling considering the best song in the show is given to a secondary character, the showstopper for Ogie entitled “Never Ever Getting Rid of Me.” The rest are interchangeable ballads. Diane Paulus keeps things moving, thanks in large part to the brilliant scenic designer Scott Pask. Although in this case the sets are not much to look at, but their seamless transitions keep the musical afloat and his backdrop landscape vistas are breathtaking.

Jessie Mueller is quickly rising in the ranks as a top, bona fide Broadway star. Having won the Tony Award for Beautiful just two years ago, she will be up again for best actress for the coveted role of Jenna. She is the magical sugar, butter and flour that makes this musical rise.

Keala Settle, as bestie Becky, is a delight and believable; she was one of two characters that made the musical Hands on a Hardbody bearable. Kimiko Glenn as Dawn gives more of a caricature than a performance.

The men run the gamut from dreamy to abusive bully. Drew Gehling as the gynecologist is a total dream; he is one of the good guys. Nick Cordero, who was brilliant in Bullets Over Broadway, here comes across as a Southern psycho bully; one really expected hisses from the audience at curtain call. There is the wonderful character actor Dakin Matthews as the curmudgeonly Joe and he makes his presence felt in every scene. The best for last is Christopher Fitzgerald as Ogie; there isn’t a thing this wonderful musical comic can’t do.

If you’re in the mood for a scrumptious piece of pie, why not try the big helpings you’ll get at the Brooks Atkinson Theatre? They will surely satisfy anyone with a sweet tooth.

Edited by Scott Harrah
Published April 27, 2016
Reviewed at press performance on April 26, 2016

‘WAITRESS’: Jessie Mueller. Photo: Joan Marcus

‘WAITRESS’: Nick Cordero & Jessie Mueller. Photo: Joan Marcus

‘WAITRESS’: Kimiko Glenn & Keala Settle. Photo: Joan Marcus

‘WAITRESS’: Nick Cordero & Jessie Mueller. Photo: Joan Marcus

‘WAITRESS’: Drew Gehling & Jessie Mueller. Photo: Joan Marcus

‘WAITRESS’: (Left to right) Ryan Vasquez, Charity Angél Dawson, Christopher Fitzgerald, Eric Anderson, Dakin Matthews & Molly Hager. Photo: Joan Marcus

‘WAITRESS’: Christopher Fitzgerald, Kimiko Glenn & Aisha Jackson. Photo: Joan Marcus

‘WAITRESS’: Kimiko Glenn & Christopher Fitzgerald. Photo: Joan Marcus

‘WAITRESS’: Dakin Matthews & Jessie Mueller. Photo: Joan Marcus

‘WAITRESS’: (left to right) Jeffrey Morse, Christopher Fitzgerald, Kimiko Glenn & Aisha Jackson. Photo: Joan Marcus

‘WAITRESS’: Drew Gehling & Jessie Mueller. Photo: Joan Marcus

‘WAITRESS’: Drew Gehling & Jessie Mueller. Photo: Joan Marcus

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