Review: THE NOTEBOOK at The Peace Center

They say that cliches are only cliches because they’re true. And the truth within Nicholas Sparks’s story The Notebook is simple admiration of romance. If you’re one of those admirers, familiar with the 2004 film adaptation of Spark’s novel, you’ll appreciate the new take on the tale of Allie and Noah, brought to the stage by Michael Greif (Rent, Next to Normal, Dear Evan Hansen) and Schele Williams (The Wiz, Mowtown the Musical, Aida). 

The vocal performances of the music is very good from the cast. The first standout among them was understudy Makena Jackson (Dear Evan Hansen national tour) as Allie’s teenage self. Hearing her Act 2 solo, the young actress won't be an understudy for long with an instrument like that. As her Noah, newcomer Kyle Mangold does an excellent job of combining both the wide-eyed romantic sentimentality and sober thoughtfulness of the character. Together the two make a believable relationship which feels like it’s beginning had even more the story could’ve explored. 

Sharon Catherine Brown, whom you may recognize from either the film of A Chorus Line or television’s The Good Fight proves she has earned the crowning title of veteran—having starred in The Wiz, Joseph and the Amazing Technicolor Dreamcoat, and Dreamgirls—in addition to film (A Chorus Line). Here, her portrayal of Allie’s struggle with Alzheimer’s disease in her older years is genuinely, deeply touching. It’s an interesting complement to her counterpart Beau Gravitte (The Light in the Piazza, Gossip Girl), whose Noah notably shows a lighter, almost cheeky side.

While it’s not an enviable task to bridge the couple’s younger and older selves, Hamilton’s Alysha Deslorieux and Ken Wulf Clark (Natasha Pierre and the Great Comet of 1812, Shucked) bring talent of their own to Noah and Allie's later youth. His fine voice and her Stage Presence fit this second arc of the love story well.

The songs by recording artist Ingrid Michaelson—known for the platinum single “The Way I Am” before joining Natasha Pierre and the Great Comet of 1812— are mostly inoffensive with some nice melodies. The harmonies in particular are especially pretty with the help of Michaelson’s co-vocal arranger Carmel Dean. The book by Bekah Brunstetter (Shmigadoon, This is Us) softens some of the rougher edges of the story as portrayed in the film, where the internal conflicts within Noah’s and Allie’s relationship in their youth felt a little more sensational. Greif and Williams’ take is less about the specifics and more about feelings, making matters such as lighting, set (in this case, by Tony winner David Zinn), etc., more about creating an atmosphere. As long as you don’t take issue with Valentine’s Day, you won’t find that atmosphere oppressive.

The Notebook runs now through June 14 at the Peace Center.