If you did not read the Nicholas Sparks novel “The Notebook,” you most likely saw the movie of the same name based on the novel and if you saw the movie chances are you have plans to see the new Broadway musical, with the same name and somewhat the same story, with just a few changes. Bekah Brunstetter has penned a book that accommodates twenty-one songs and one reprise which unfortunately forces her to streamline the contents of the story, which sometimes diminishes the reasoning and depth of the characters. The music and lyrics created by Ingrid Michaelson do little to further the plot and seem derivative but do add quite a bit of schmaltz to certain scenes assuring a deliberate tug at your heartstrings. Those who are familiar with the previous incarnations regardless of genre will have no trouble filling in the blank spots and connecting the dots, but others may have difficulty with the accelerated timeline.

The plot revolves around the love story of Noah and Allie, from the proverbial “different sides of the tracks”. Noah, lower middle class, uneducated, unsophisticated, working in a lumberyard and Allie upper class, educated, filling her days with piano, French and art lessons during her stay at the family’s summer home. They instantly fall in love and overcome all the obstacles that are set before them, including a domineering and controlling mother, the Viet Nam war and Allies engagement to a wealthy fiancé. Their love endures, they marry, have a son and grow old together. As they age Allie starts to have signs of dementia which worsens until she barely remembers anything. She has made Noah promise that he will read their story to her which she has meticulously recorded in a “notebook” hoping that will bring her back to the present.

In this stage adaptation Allie and Noah are played by three different couples, younger, middle and older. The older Noah (an endearing Dorian Harewood) acts as narrator as he reads the story from the “notebook” to older Allie (an astonishing and brilliant Maryann Plunket), now in a nursing facility suffering from severe dementia. As he reads from the pages the scenes are reenacted by younger Noah (an innocent and honest John Cardoza), younger Allie (a feisty Jordan Tyson), middle Noah (a strong, determined Ryan Vasquez) and middle Allie (a powerful and sensitive Joy Wood). Older Allie gazes upon the scenes coming to life, struggling to break out into the present as if she were locked away in prison of the past.

Directors Michael Grief and Schele Williams have chosen color blinded casting which ensures that the issues addressed become universally relatable. The use of three couples at different stages of their romance may seem confusing but because of the unique staging where one, two or all three couples appear together at the same time promotes clarity.

Choreography by Katie Spelman seems to be a bit intrusive and irrelevant at times but also creates a few beautiful romantic pictures. Scenic design By David Zinn and Brett J. Banakis is appropriate but underwhelming except for the magnificent and magical rainstorm captivated by the incredible lighting designed by Ben Stanton. Costumes by Paloma Young are a great reflection of the characters and are spot on with the period.

The cast does a fine job with what they have been given to work with and never resort to melodrama or stereotype. All the vocals are remarkable with a stand out performance by Joy Woods delivering a few powerful solo numbers. Veteran stage actor Maryann Plunkett embodies the tortured older Allie with grace and authenticity that is worth the price of a ticket. This may not be the best musical of the season but it is enjoyable with some unique staging and inventive casting. Those looking for an emotional musical theatre experience will appreciate the effort made to bring this bestselling novel to the stage.