The Wedding Singer

The year is 1985. Think crimped, big hair and fussy wedding dresses and get LIDOS to take you on a magical trip with this hilarious, light-hearted musical! The original film, starring Adam Sandler, was a notable success and somewhere along the line, it morphed into a hit stage musical that leaves you smiling and singing all the way home.

This production, beautifully directed by Sian Lomax, had the audience's attention from the first musical number - Robbie Hart, the Wedding Singer, is performing with his band at a wedding party, something he does very well. He is played here by James Sidgwick with gusto, verve and a great 'rock' singing voice. The love interest between him and a rather hapless waitress, Julia,  played excellently by Claire Hoyland, is apparent from the start. It's just that she is going out with a Wall Street 'shark', Glen, (Daniel Austwick, relishing in the oily character!) Julia's waitress buddy, Holly, played by sexy Lauren Hampshaw, is in an on-off relationship with Robbie's band mate, Sammy (an assured performance by Paul Lonsdale). Another band mate is George, costumed and primped as a latter day Boy George and played to great effect by Adam Folkard. Robbie's wish to marry and settle down with his fiancee, Linda, is short-lived when she jilts him at the altar. Played with manic zeal by Poppy-Jo Lumley, she delivered the famous put down line - 'sorry, I can't marry you, dot-dot, smiley face' - (of course, by letter, before texting days!)  And I have to give a huge round of applause to Shirley Hoyland, portraying Robbie's totally inappropriate Grandma Rosie - and she 'rapped' as well!  

I see from the programme notes that this was the first time the Musical Director, Dan Warren, had worked with LIDOS - but his sensitive take on the company was truly excellent - he has a bright future ahead of him! His band was of the highest quality.

The Director, Sian, had her work cut out moving her cast on a small playing area, but it all worked well. She made the Wedding Party scenes so realistic and adding children made them even more natural. The difficulty in transferring a film into a stage production makes for a great number of scene changes, but these were handled brilliantly by a competent stage crew, managed by Dan Dainter, who had also designed the custom set. Leigh Craven was the Assistant Stage Manager. The Audio Video effects (by Chris Beardwell and Gary Loughrey) gave us a true meaning of location (New Jersey and New York).

The sound balance made it easy to hear dialogue and lyrics clearly (Chris Beardwell in charge) - but there were some mic crackles the night I attended - I realise these gremilins do get in, but beware!  Lighting was designed by Tina Nutt - totally in keeping with the period and well thought out.

What more can I say about the two teriffic choreographers, Donna Wells and Emma Tempest?  I asked Emma how it all worked and she told me that they were just on the same wave-length - the dance moves in this show were so in keeping with the 80's, they had really done their homework and the company were very well rehearsed.

And now to the costumes, which are so important in any show, but even more so in this production - every costume was completely correct, with footwear to match - Carolyn Craven had done a marvellous job here, the attention to detail awsome. The period props were in the capable hands of Jill Spence and Sally Stephens.

This show was well chosen for this talented group - I was proud of  everyone on stage, professional and committed - and everyone loved the happy ending!   

Congratulations to you all!

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