The Wedding Singer

It was a case of ‘partying like it’s 1985’ as we arrived at the Swan theatre just in time to beat the rising waters of the river Severn following the latest of October’s many rainy days.  But, wet as it was outside, the sun was certainly shining inside the theatre, as WODS brought the fun with their performance of The Wedding Singer.

The Wedding Singer is a pretty straightforward ‘boy meets girl’ story.  When the titular wedding singer Robbie Hart spies waitress Julia in the first five minutes of the show, there’s an instant romantic spark (cheekily highlighted with a little music and lighting stab).  True love is surely going to have its way, but not until Robbie has been jilted at the altar by self-centred fiancé Linda and Julia has had to find out the hard way that her city-boy (a very 80’s twist) boyfriend is a bad ‘un.  Meanwhile, the on-off relationship between Robbie’s oafish bandmate Sammy and Julia’s best friend Holly is finally, happily, resolved. 

There’s lots to love about the performances in this show.  But before getting to that, I’d like to highlight what was, for me, the real standout element of this production – the choreography.  Lynne Holloway has put together some excellent routines, which really elevated the source material.  Right from the start, as we were plunged into a wedding party (complete with drunken relatives!), the show brimmed with energy and excitement - it really did feel as if we had joined a great party, with Robbie acting as master of ceremonies.  The whole cast were on it right from the start, opening the show with a bang.

Further strong routines included a Busby Berkeley tinged ‘All about the Green’; a very funny barroom ‘Single’; and a fabulously entertaining geriatric bop ‘Move that Thang’.  I also spotted quite a few call-backs to classic routines of the 80s – the ‘Thriller’ stylings being a particular highlight.  Of course, strong choreography needs strong execution, and here the whole team delivered.  What must have been hours of work in the rehearsal room paid off on stage, as the cast performed the often complex movements with confidence and vigour.  Well done, all!

Turning to the Principals, Elliot Kainey and Hattie Windows were a good pairing as Robbie and Julia, totally convincing both in their roles and as a couple.  These were very polished performances, strong in singing, acting and movement, and they led the cast superbly well.  Strong support came from Toby Edwards and Beth Tyrell as Sammy and Holly, the ‘other’ lovestruck couple.  And Aadil Din was camptastic as George, a great presence whose smile lit up the stage. 

Eddie Paisley gave a very confident performance as the rotter Glen Guglia, exuding arrogance but with the necessary touch of charm to make it plausible that Julia would be interested in him.  Boe Aston made the absolute most of her two opportunities as Robbie’s self-obsessed fiancé Linda, injecting great humour into her reading of Linda’s rejection letter, and giving it absolutely both barrels when she returned in ‘Let Me Come Home’.  Last but not least, Wendy Holloway gave us a scene-stealing turn as Robbie’s eccentric granny Rosie – great energy and humour here once again.

Excellent support was provided by a sixteen strong company, who not only played their part in delivering the choreography but also brought plenty of colour as wedding guests, barflies, city workers, and a very entertaining selection of Vegas fake celebrities!  Music was superbly handled by Edward Roberts-Malpass and a nine-piece orchestra who were reinforced by Elliot Kainey playing his own acoustic guitar parts.  Director Ann Turner brought these pieces together into a very satisfying whole.

The costume department had a great time revisiting the decade that fashion forgot, from shiny suits to pastel leggings to shoulder-pads.  And no review of this show would be complete without reference to the impressive collection of wigs on display – Robbie’s mullet was worth the entrance fee alone!  Perhaps one or two examples tipped over the line into a more ‘panto’ style, but in for a penny in for a pound, I guess. 

A word too for the sound and lighting teams, who delivered flawlessly.  Previously I have found that the Swan theatre stage seems to have been prone to the odd dark spot, but I didn’t notice any of that this time around, so well done to lighting designer Andy Clark and his team.  Set transitions were seamlessly made, including the introduction of Robbie’s large basement bed, complete with vibrating mattress.

Once again, WODS have shown themselves as top notch interpreters of musical theatre.  Whatever one’s view of The Wedding Singer as a musical, they certainly wrenched every last bit of value out of it.  Well done to the whole team, and I look forward to seeing you all again soon.

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