Drury Lane’s First Date is hilarious, laugh-out-loud romp

Drury Lane has chosen a more modern romance, ostensibly more appealing to younger people who may be dating currently or whose memory of dating is more recent, though certainly most of us will find fun and memories in the discomfort and awkwardness of first dates.

I don’t walk into modern, lesser-known musicals with very high expectations. They’re often cute, but unmemorable in story and song.
And the formula for First Date does seem to be a rehash. A young, innocent man has a blind date with a young lady who, let’s say, has been around the block a few times. 

But this production does not disappoint in the least. Evan Delvecchio-Williams is cute as the innocent Aaron, convincingly embarrassed and intimidated by the brash, edgy Casey, whose evil eye might have scared a few male audience members sitting too close to the stage. Well done, Kelsey Faulkner!

We can all identify with being on a first date, even those of us who are a little longer in the tooth. We are uncertain what to say, and even regret what we do say as soon as it comes out of our mouths. We hear voices in our heads telling us what to do or what not to say. 

In the case of this production, those voices come to life in actors who sit in restaurant booths on stage. 
Some characters recur – the best friend of Aaron, hilariously played by Mark Rotil, a newcomer to Drury Lane’s stage. His chief piece of advice is for Aaron to never mention his ex, Allison, played with a sexy sultriness by Katharine Costa, always giving the come hither look that always disappoints. 

On Casey’s side, that is, in her mind, are her older well-established serious sister, played nicely by Stacey Tiller. Her delivery clearly suggests the wisdom and condescension of a more rebellious woman who never likes to hear from her older sister. 

Another oft-repeated character is Casey’s gay male friend, whose job is to call Casey on the phone at regular intervals to give her an “out” in case she wants to desert her new blind date. Devin France is hilarious as that friend…and hilarious in the many roles he plays, as are all the members of the ensemble.

Each of the five ensemble cast members play multiple roles, surprisingly not the least bit confusing, including parents, dead ancestors, even Aaron’s future confused son, and even representations of social media that dance the stage revealing secrets about the dating couple better left untold. 

Somehow, without the audience being aware, the ensemble members change onstage in their booths while action occurs stage right. It’s a tribute to how engaging the dialogue is most of the time, and perhaps even a tribute to the clever lighting design of Sabrina Sikora.

In fact, I can’t say enough about how good all aspects of the show were: crystal clear sound by Andrew and Owen Braun – on opening night - clever costume design by Carrie Mines, and when Chris Stolz’s set opened up, the audience applauded!

The set which the audience sees upon arrival is that of the outside of a bar in a rougher neighbourhood, old steel doors on a red brick building whose walls are plastered with tattered posters. It could be the entrance to a strip club, given the logo of a pair of long legs on the door. This all opens up to a more genial interior of the establishment, with a sit-down bar, tables and booths – more appealing than the exterior, but still intentionally campy.

Before the doors are opened, we are invited by the owner of the establishment, Lucky Mae, to enjoy ourselves. This Mae West impression is certainly intended to be played by a drag queen, the only true criticism I have of the show, but Alanna Perkovich-Smith is so bold, easy-going and vibrant in the role, it’s a flaw easily overlooked.

As always, Anne Barnshaw, musical director, has brought out the best in the already-talented voices of this delightful cast. Special kudos to Kelsey Faulkner, who, in her rare touching moments, sings with a controlled power which is very moving. Anne Barnshaw and her band do extremely well at setting mood with music and being a perfect backdrop to the singers without ever overpowering them.

Marc Richard, who returns as stage director to Drury Lane after an absence of 20 odd years, is near flawless in the way he has managed movement on the stage in ways that are fun, sometimes racy (and still fun), and skillfully.

At risk of repeating myself, I am compelled to say that there is no weak link in First Date. Every actor is strong and versatile in acting and singing, and every moment is worth watching.

When I mentioned to table mates, new theatre-goers to Drury Lane, that I was writing a review, they told me, at intermission, that they gave the show a 10 out of 10. By the end of the show, they said, “Make that an 11 out of 10.” First Date is “lmao” fun. You will not be disappointed.

First Date continues every weekend in May at 8 p.m., with 2 p.m. matinees on Sundays. Tickets can be purchased online or at the box office, or by calling 905-637-3979.