The Wedding Singer – Bridewell Theatre, London

Book: Chad Beguelin and Tim Herlihy

Music: Matthew Sklar

Lyrics: Chad Beguelin

Director: Stuart James

With so much focus on songs and stars, the importance of choreography to musical theatre is significantly underestimated, and although the return of vintage shows has delivered notable ensemble numbers, the role of the choreographer in twenty-first-century musicals is just as vital, clearly demonstrated by Sophelia Gentles’ work for Centre Stage’s revival of The Wedding Singer at the Bridewell Theatre. Here the exuberant and often wildly entertaining dance numbers like Saturday Night in the City, Someday and particularly Act Two opener All About the Green are this production’s biggest assets.

Happily in love, wedding singer Robbie meets waitress Julia and the pair becomes friends, eager to support each other’s respective relationships. When Robbie is jilted on his own wedding day, he hits a slump that only newly engaged Julia can help him out of. But will they resolve their feelings for each other before Julia ties the knot herself?

Centre Stage has assembled an enormous company for this musical romcom based on the Adam Sandler movie from the 1990s and first performed in the US as a stage musical in 2006. Directed by Stuart James, the production retains the jaunty, spoof-like tone of the original film but ups the ante with a significant cast of secondary characters who provide some of those great dance pieces filled with individual and collective character. The combination of Gentles’ choreography and James’ direction fills these numbers with storytelling, giving everyone a purpose and role that enhances the overall effect, as well as supporting the central romantic narrative.

And there is a real sense of fun that infuses this version of The Wedding Singer as the hapless couple is increasingly drawn into each other’s orbit and endure the usual genre-based obstacles to true love. James is particularly good at scenario setting – aided by James “Chads” Chadwick’s set and Stuart Gain’s 80s coloured lighting – so whether it is the multiple implied locations from wedding receptions to bars, bedrooms and bathrooms, even adding the odd dream or the comically rounded secondary characters, there is a strong sense of two hilariously heightened worlds coming together and meshing as Robbie and Julia also move towards each other.

From Nurin Abdul Aziz’s Holly who loves a good time, Hillary Zondlak’s elderly Rosie, Toby Chapman’s yuppie fiancé Glen Guglia and Glen Jordan’s bandmate George, there is real depth in the supporting cast both vocally and in character creation – Rosie and George’s age-gap Second Act rap Move That Thang is a high point with Zondlak providing an unexpected caterpillar move that adds some unexpectedly impressive physical comedy.

As the would-be lovers, Abbie Minnock’s Julia and Joe McWilliam’s Robbie are very sweet together, a likeable pairing with an easy chemistry and a generosity in their performances that creates space for each other and the wider cast to shine. Both are excellent vocalists but Minnock in particular cuts through the humour to find the touching moments that gives the romance a proper grounding.

Running at around 2 hours and 40 minutes, the show is a little long and could lose the odd number in Act One without affecting the plot and the energy sags occasionally outside of those vigorous company numbers. But, while you may be inundated with invitations this wedding season, say “I do” to The Wedding Singer.

Runs until27 July 2024