The Wedding Singer

Once in a while there is something so outstanding that you could praise every single part of the whole production: from acting to staging, from costume to set, from singing to dancing – plus the entire ambience of the show. Which makes writing about the show both an utter joy and extremely challenging.

Even though this is set in the 1980s this is a modern musical with modern staging. A square elevated platform stage left is all that’s needed for certain key moments during this show, such as Julia trying on her dress where Robbie sees her at the window, and Glen on the phone to Julia. All the furniture is moved on and off in full view which is a lovely modern touch, and sometimes audience attention is so focused on the scene in the show that they barely notices the change until after it’s happened. The vibrating bed was an absolute triumph and used so very well in the two scenes with the beyond uncomfortable moment between Robbie and his grandmother Rosie talking about “wedding night nerves”, and the scene where Robbie is in absolute despair about Linda having left. Linda showing up out of the wedding cake to sing her jilting letter was glorious, especially the end lyric of Linda being “dotted with a broken heart”.

There are plot points that have been adapted for stage from the hit film and the whole story works and flows very well. This is an extremely well written musical which is hilarious from start to finish sometimes in guffaw moments, but also heart-warming and poignant. Lighting stages added and enhanced beautifully, sometimes picking out individual performers; and the level of music from the live orchestra balancing the singing was spot on. It was also truly wonderful to see the “band” on stage actually playing their instruments as part of the band performances.

The acting was sublime: all the characterisation was flawless and the singing was incredible. The cherry on top of the already superb cake was that each of the characters were rounded: they are based on archetypes and stereotypes yet the actors ensured that these were multi layered, making them living breathing real life people. Jack Tompkins as Robbie and Anna Coote as Julia absolutely shone in their lead romantic roles, showing sparking chemistry right from the start, including the awkwardness of a chord ‘getting stuck’ and pink lights washing over them in a great moment of poking fun at the ‘rom com’ set up. They both showed huge range in acting as well as singing and were completely believable as characters and in their ‘falling in love’.

Debbie Francis as Holly had the most sublime singing voice in her solo. Her portrayal of the material girl who actually did want to be with her ex-boyfriend Sammy even if he drove her crazy was pitched wonderfully. James Edwards as Sammy was wonderfully clueless and ambitious and real. Their moment of wearing the T shirts at the end: Holly wearing “I’m with stupid” and Sammy wearing “Stupid” was deeply satisfying as well as funny. Jack Jackson-Humphrey as the camp and flamboyant George with fabulous guffaw funny costumes was so natural in his role which could easily have been a caricature but was played brilliantly. Boy George and Sammy had incredible hair – a mass of waves and a long mullet respectively, which the actors pictures in the programme didn’t have – if these were wigs they were brilliantly done. Sometimes it’s easy to see a wig by the way the actor is with their hair and these two looked completely natural with it. Mark Stevenson was suitably smarmy as the chauvinist womaniser Glen who the audience loves to loathe: again, well rounded and believable performance. Similarly Jennifer McLean as Linda was the embodiment of shallowness and was a welcome target for audience loathing, yet somehow both actors managed to play these not so nice parts with such humanness. Helen Mullany was fantastic as grandma Rosie: that combination of embarrassing extreme grandma and protective parent. Her singing about Linda being a skanky whore was unexpected and so very funny, and brilliantly deadpan which it needed. Michelle Bryant as the pushy protective materialistic mum Angie was lovely, giving this character warmth whereas it could have been annoying.

Each of the principal cast were superb in their roles, believable and real rounded characters as well as incredible singers. A wonderful achievement for Musical Director Marc Yarrow with the singing and pitching and balancing, as well as the organisation of the orchestra.

The pictures they created on the stage through staging and the choreography was joyous. The dancing was modern and detailed and intricate and glorious to watch. The chair dance in the “Casualty of Love” song was totally brilliant. Choreographer Bronwen O’Malley has done a magnificent job, everyone on stage was enthused and tight and committed. In the ensemble pieces Alex McDermott-Roe shone with his commitment and finished lines and enthusiasm: an utter delight to watch. Each of the ensemble cast did a brilliant job in their various parts: Paul Bryant showed wonderful timing as the Bum in the bar giving Sammy a hug, Tim Peck made a brilliant fake Billy Idol reminiscent of Billy Idol playing himself in the film.

There were so many lovely details which made this a standout show, including the well thought out interval playlist. What an absolute triumph for Director Janis McLean who has shown such warmth and understanding in her very clever direction as well as an understanding and love of the story, which every member of the team showed that they share. What a superb evening, and an absolutely stunning show: massive congratulations to every single person that has made this the incredible standing ovation worthy production that it is.

© NODA CIO. All rights reserved.