Cabaret Scenes Theatre Review - The Wedding Singer

Humungous hair, Dynasty shoulders, and a tad cheesy – that was the 1980's. That is also the quirky charm of The Wedding Singer at the Al Hirschfeld Theatre. Once you accept that there's not much more, sit back and chill. Director John Rando leads the cast cheerfully through an ambiance of sentiment and nostalgia, hinting at nothing deeper. All the touchstones of the Me! Me! Me! generation are here – Imelda Marcos, "Thriller," Tina Turner, you'll amuse yourself picking out hidden clues in the dialogue and in the songs by Matthew Sklar and lyricist Chad Beguelin. Note also Rob Ashford's dynamic choreography, looking a lot like the decade's music videos with disco, jerks and thrusts, and pole dancing.

The story, based on a late '90s film, was written for the stage by Tim Herlihy and Beguelin. Robbie, played by Stephen Lynch, is an appealing wannabe pop/rock star, making his living in Ridgefield, New Jersey singing at weddings in rented halls. He's a pleasant guy, he likes his job and the idea of doing his part for romance, that is until he's jilted by his fiancée, the trashy Linda, played by Felicia Finley.

Despair turns to hope when he meets a comely catering waitress, Julia Sullivan, played with crisp sweetness by Laura Benanti. Julia, unfortunately, has a boyfriend, Glen Guglia (Richard H. Blake), stereotypical '80's status seeker working on Wall Street. He's a much better catch for Julia except that she is an unpretentious, down-to-earth gal who is not interested in wealth and status. Lucky for Robbie -- you know she's going to fall for the wedding singer, although this comes about only after Wall Street Glen lets her down. Remember the trash bond boom? As the song goes, it's "All About the Green."

Lynch and Benanti playing a couple of kids in love is not irreplaceable casting. Lynch plays a likeable chap who shows his angry side when the situation rises. Benanti has a look that seems too sophisticated for a girl-next-door, but she plays the role gamely. Unlike Jersey Boys, The Pajama Game, The Boy From Oz, there should not be the problem of who will step into the lead roles should the play run past their contracts.

The secondary characters, New Jersey caricatures modeled in pop molds, are really more interesting. The Van Hellenic Sammy, Robbie's best friend, is played by Matthew Saldivar and is destined to be with Julia's outspoken, sexy cousin, Holly (Amy Spangler), the Madonna of the show. Kevin Cahoon's George, a member of Robbie's band, has an androgynous Boy George look. There's also the hackneyed grandma, Rosie (Rita Gardner), who shocks everyone by talking dirty and still "doing the nasty". Always Robbie's biggest supporter, Gardner gives an audience-winning portrayal of this senior citizen breakdancing to "Move That Thang."

The sound is synthesizer; the score is catchy. Matthew Sklar's melodies are redolent of the era and most of Chad Beguelin's lyrics are cute rather than witty. The team provides tunes suitable for romance ("If I Told You"), comedy ("Come out of the Dumpster") and some bodacious body language by Robbie's ex-fiancée, Linda in "Let Me Come Home." "Right in Front of Your Eyes" ties up the secondary love story between Holly and Sammy. "It's Your Wedding Day" is an energetic, infectious opening and closing tune.

Small-town New Jersey and The White House Wedding Chapel in Las Vegas are designed with eye-catching comic detail by Scott Pask. Gregory Gale must have had fun taking the definitive 80's fashion fancies and stamping them with special humor and color; the wedding and bridesmaids' gowns are deliciously blowsy.

But totally awesome? No, The Wedding Singer is not the most creative plot in the world, but it is paced with an unpretentious "wink, wink". From book to hair, it's as frothy as a cappuccino and will bring enjoyment that is proportionate to your familiarity with that decade. Will it do well on Broadway? Probably, even if its imprint begins to fade by the time you reach Eighth Avenue. The Wedding Singer raises Hairspray to a new level of sophistication, but there is an audience for both.

Elizabeth Ahlfors
Cabaret Scenes
May 3, 2006
www.cabaretscenes.org



	The Wedding Singer Al Hirshfeld Theatre New York, NY
Humungous hair, Dynasty shoulders, and a tad cheesy – that was the 1980's. That is also the quirky charm of The Wedding Singer at the Al Hirschfeld Theatre. Once you accept that there's not much more, sit back and chill. Director John Rando leads the cast cheerfully through an ambiance of sentiment and nostalgia, hinting at nothing deeper. All the touchstones of the Me! Me! Me! generation are here – Imelda Marcos, "Thriller," Tina Turner, you'll amuse yourself picking out hidden clues in the dialogue and in the songs by Matthew Sklar and lyricist Chad Beguelin. Note also Rob Ashford's dynamic choreography, looking a lot like the decade's music videos with disco, jerks and thrusts, and pole dancing. The story, based on a late '90s film, was written for the stage by Tim Herlihy and Beguelin. Robbie, played by Stephen Lynch, is an appealing wannabe pop/rock star, making his living in Ridgefield, New Jersey singing at weddings in rented halls. He's a pleasant guy, he likes his job and the idea of doing his part for romance, that is until he's jilted by his fiancée, the trashy Linda, played by Felicia Finley. Despair turns to hope when he meets a comely catering waitress, Julia Sullivan, played with crisp sweetness by Laura Benanti. Julia, unfortunately, has a boyfriend, Glen Guglia (Richard H. Blake), stereotypical '80's status seeker working on Wall Street. He's a much better catch for Julia except that she is an unpretentious, down-to-earth gal who is not interested in wealth and status. Lucky for Robbie -- you know she's going to fall for the wedding singer, although this comes about only after Wall Street Glen lets her down. Remember the trash bond boom? As the song goes, it's "All About the Green." Lynch and Benanti playing a couple of kids in love is not irreplaceable casting. Lynch plays a likeable chap who shows his angry side when the situation rises. Benanti has a look that seems too sophisticated for a girl-next-door, but she plays the role gamely. Unlike Jersey Boys, The Pajama Game, The Boy From Oz, there should not be the problem of who will step into the lead roles should the play run past their contracts. The secondary characters, New Jersey caricatures modeled in pop molds, are really more interesting. The Van Hellenic Sammy, Robbie's best friend, is played by Matthew Saldivar and is destined to be with Julia's outspoken, sexy cousin, Holly (Amy Spangler), the Madonna of the show. Kevin Cahoon's George, a member of Robbie's band, has an androgynous Boy George look. There's also the hackneyed grandma, Rosie (Rita Gardner), who shocks everyone by talking dirty and still "doing the nasty". Always Robbie's biggest supporter, Gardner gives an audience-winning portrayal of this senior citizen breakdancing to "Move That Thang." The sound is synthesizer; the score is catchy. Matthew Sklar's melodies are redolent of the era and most of Chad Beguelin's lyrics are cute rather than witty. The team provides tunes suitable for romance ("If I Told You"), comedy ("Come out of the Dumpster") and some bodacious body language by Robbie's ex-fiancée, Linda in "Let Me Come Home." "Right in Front of Your Eyes" ties up the secondary love story between Holly and Sammy. "It's Your Wedding Day" is an energetic, infectious opening and closing tune. Small-town New Jersey and The White House Wedding Chapel in Las Vegas are designed with eye-catching comic detail by Scott Pask. Gregory Gale must have had fun taking the definitive 80's fashion fancies and stamping them with special humor and color; the wedding and bridesmaids' gowns are deliciously blowsy. But totally awesome? No, The Wedding Singer is not the most creative plot in the world, but it is paced with an unpretentious "wink, wink". From book to hair, it's as frothy as a cappuccino and will bring enjoyment that is proportionate to your familiarity with that decade. Will it do well on Broadway? Probably, even if its imprint begins to fade by the time you reach Eighth Avenue. The Wedding Singer raises Hairspray to a new level of sophistication, but there is an audience for both. Elizabeth Ahlfors Cabaret Scenes May 3, 2006 www.cabaretscenes.org

The Wedding Singer

Al Hirshfeld Theatre New York, NY

Al Hirshfeld Theatre
New York, NY