When I heard Chaffin’s Barn Dinner Theatre was presenting a production of The Wedding Singer, I gotta admit I was excited; mostly because I have had a celebrity crush on Drew Barrymore since her Poison Ivy, Boys on the Side and Mad Love Days, but also because I am of a certain age, the 80s were MY decade.
While the stage musical is based on the 1998 film of the same name which starred Adam Sandler alongside Barrymore, Sandler has never been a favorite of mine, but the presence of Barrymore and a plethora of 80s music, 80s pop culture and 80s references combined to make the film enjoyable and the perfect property to make the transition from screen to stage.
The story tells the tale of a somewhat ne’er do-well wannabe rock star named Robbie Hart who not only gets left at the alter early on, but also falls for a girl who seems out of his league and simultaneously finds himself paying his musician dues as frontman for a trio whose primary gigs consist of bar mitzvahs, birthdays, retirement parties and wedding receptions.
Speaking of wedding receptions, with the help of props department: Joy Tilley Perryman, Annie Magan, Jenny Norris, Tammie Whited, stage manager Catherine Wynne Reeves, assistant stage manager Alexis LaVon, tech director Robin Lawshe, lighting designer Daniel DeVault, audio engineers Jacob Allen and Russ Sturgeon and musical director Rollie Mains, the show’s director Curtis Reed and company have turned Chaffin’s Barn into an iconic 80s reception hall, complete with prop wedding cake centerpieces on each table and scrumptious wedding cake added to the dinner theatre’s dessert menu.
Further immersing the audience into the spirit of an 80s wedding reception feel, before the show began, members of the cast mingled with the audience chatting about the bride and groom.
Interestingly, while the movie soundtrack was chocked full of 80 rock and punk hits by everyone from The Police to Psychedelic Furs, the stage iteration of The Wedding Singer features virtually no covers, and instead boasts a soundtrack of tunes written specifically for the stage with music by Matthew Sklar and lyrics by Chad Beguelin. Beguelin also collaborated with Tim Herlihy, the original movie’s screenwriter to pen the book of the musical.
Even though such well-known tunes from the movie like New Order’s Blue Monday and David Bowie’s China Girl are nowhere to be found in the stage version…I’m guessing the original Broadway producers didn’t want to pony up for all those song rights…the original score does indeed possess a totally 80s vibe.
But here’s the thing. Director Curtis Reed, who also choreographed and co-stars in a multitude of supporting cameos, doesn’t need to rely on 80s pop hits to convey the mullet-lovin’, shoulder-pad wearin’, era. Thanks to Reed’s choreo genius, astute audiences will spot nods to everything from a little Thriller-ography to a few decidedly boy-band dance moves. That paired with the show’s mostly, but decidedly retro tunes, help the audience feel as if they’ve might have gotten a ride in Doc’s Lamborghini for a trip back to the righteously tubular 80s.
Of course it doesn’t hurt that Reed has costumers Miriam Creighton and Emily Irene Peck dressing the cast in iconic 80s styles of powder blue tuxes, color-blocked pastels and fashions inspired by 80s pop fashion legends like Madonna, Boy George and more. The only thing missing were parachute pants.
On the subject of the cast, Alex Pineiro stars as the aforementioned Robbie. Having seen Pineiro in a couple of shows in the past few years, I was excited to learn he had been cast in the lead and I’m here to tell you, if he’s not already, this performance should put Pineiro on the radar of every theatre director in town. As I mentioned above, Sandler has never been one of my favorites, and even with Barrymore as a co-star, his performance in the original film was still my least favorite. That said, Pineiro somehow manages to make you forget Sandler as he not only makes Robbie his own, but makes the audience root for him to get the girl and cheer him on in the process. He’s never more charming that when he’s a bit down-and-out.
Among Pineiro’s standout co-stars are Natalie Rankin as Julia, (the Drew Barrymore role); Daniel Bissell and Nico Rion as Robbie’s bandmates, Sammy and George; Chloe Cahill as Sammy’s feisty girlfriend; Matt Moran as Julia’s intended, Glenn; Vicki White as Robbie grandmother, Rosie and Jenny Norris as Linda, Robbie’s runaway bride.
Of those cast members, Rion turns in a Boy George-inspired hilarious performance poking just the right amount of fun at the now pc concept of gender fluidity back when it was just called flamboyant. Meanwhile White’s turn as Robbie’s rappin’ granny steals every scene she’s in.
With the musical soundtrack devoid of the aforementioned 80s chart-toppers, the musical numbers won’t likely make your post-show playlist, but in the moment, you just can’t help but bop your head to the decidedly 80s rhythms. That said, musical highlights include Awesome a sweet duet between Pineiro’s Robbie and Rankin’s Julia, Somebody Kill Me, Robbie’s angst-ridden emo number made famous in the movie, Rion’s glitterific George’s Prayer and All About the Green in which Glenn expresses himself as a bit of a material boy.
As if those already mentioned don’t pack enough star-power into the production, the supporting ensemble members all turn in noteworthy performances including Tyler Inabinette, Lauren Woodward, Bethanie Lyon, Seth Brown, Austin Jeffrey Smith, Kathleen Mitchell, Kaleb Frey, Aubrey Guice, Seth Bennett and the always fabulous Tosha Marie and the much-mentioned and beloved Reed. From giddy bridal girls (Nashville knows a thing or two about those) and overbearing wedding party members to a handful of celeb impersonators (a hilarious scene thankfully held over from the film) including Brown as Cher (or at least a drag version thereof), Smith as a leather pants-wearing, sneering Billy Idol and Marie as the cutest, thinnest, youngest Tina Turner I’ve ever seen on stage. With enough sights, sounds, fashions, feelings and pop references to fill an 80s scrapbook, Chaffin’s The Wedding Singer is one wedding party you don’t wanna miss. Performances continue through October 19. CLICK HERE or call 615.646.9977 for reservations.
Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.
Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu.
While The Wedding Singer wraps its run on the Mainstage this weekend, Greater Tuna starring Greg Frey and Scott Rice opened earlier this week at Chaffin’s Backstage, with shows continuing thru November 2. CLICK HERE for tickets or more info. Up next at Chaffin’s on the Mainstage is Ollie’s Diner directed by Joy Tilley-Perryman, running October 24-November 2. CLICK HERE for tickets or more information. As a special deal, the theatre is offering buy-one-get-one for both of these upcoming shows. To take advantage of the BOGO for Greater Tuna, call the box office and mention the promo code: TUNATEXAS. To get BOGO tix for Ollie’s Diner, mention promo code: GHOST.
To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.
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