Having recently spoofed the ’60s with Little Shop Of Horrors, Santa Monica’s Morgan-Wixson Theatre now treats audiences to the adroitly concocted blend of music, comedy, and 1980s nostalgia that is Chad Beguelin, Tim Herlihy, and Matthew Sklar’s The Wedding Singer.

Fans of the hit 1998 movie on which the 2006 Best Musical Tony nominee is based will recall the story of sweet-hearted wedding singer Robbie Hart (Alexander Cooper), who after being dumped at the altar by his trashy rocker chick fiancée Linda (Emily Holz), begins to have feelings for girl-next-door waitress Julia Sullivan (Krystyna Rodriguez).

There’s only one hitch.

Julia is engaged to hotshot young business exec Glen Guglia (Steve Weber), news which doesn’t sit well with Robbie, especially once he’s learned that Glen is a chronic philanderer with no plans to give up his cheating ways any time soon.

Supporting characters include Julia’s party-loving cousin Holly (assistant dance captain Holly Weber), Robby’s still vigorous grandma Rosie (Miriam Billington), and his bandmates, cocky heavy-metal-tressed Sammy (Doug Kiphut) and gay-as-a-handbag-full-of-rainbows George (Deonte Allen).

All these mostly lower-middle-class types come together in one of the most thoroughly enjoyable musicals since the similarly blue-collar The Full Monty, and one which sticks considerably closer to its source material than the latter’s U.K.-to-U.S. transformation.

Like the smash hit Adam Sandler original, The Wedding Singer (The Musical) takes its 1980s time frame very seriously, from the costumes and hairstyles sported by its characters to the multitude of ‘80s pop references in its Tony-nominated book (by Beguelin and Herlihy) to the musical sounds of the ‘80s replicated in Sklar’s and Beguelin’s catchy, hook-blessed songs (also Tony-nominated) and production number after production number.

Parents are cautioned that The Wedding Singer features profanity which either hits the mark (a gray-haired granny suddenly calling Linda a “skanky whore” would do Betty White proud) or comes across as simply gratuitous. (Wouldn’t the word “jerk” work just as well as “a**hole” in an otherwise family-friendly show?) Then again, The Wedding Singer did make its movie debut the same year that Cameron Diaz found “hair gel” hanging from Ben Stiller’s ear, which makes Robbie and Julia’s love story positively tame by comparison.

As she did in last summer’s Mary Poppins, Kristie Mattsson directs The Wedding Singer with abundant imagination and pizzazz while Niko Montelibano’s meticulously researched ‘80s-inspired dance moves recall those that turned choreographers Toni Basil and Paula Abdul into MTV stars in Wedding Singer showstoppers like “It’s Your Wedding Day,” “Saturday Night In The City,” and “All About The Green.”

Leading man Cooper is so darned charming and likable, it’s hard not to fall in love with Robbie Hart at first sight. Not only that, but the Morgan-Wixson newbie delivers the vocal goods, strums a mean acoustic guitar, and has great chemistry with Rodriguez’s spunky, equally adorable Julia.

Voices surrounding Cooper’s may not be at regional theater levels, but there’s no denying what a terrific featured cast director Mattsson has assembled, beginning with Weber’s cute-as-a-button, unabashedly slutty Holly, easily the most stand-out performance to date from the longtime Morgan-Wixson ensemble favorite.

Kiphut’s big-haired, big-hearted Sammy and Allen’s Boy George-inspired George are winners too as are Weber’s money-grubbing louse of a Glen, Billington’s feisty rapper of a Rosie, and Holz’s tramptastic treat of a Linda.

Everybody else in The Wedding Singer’s ethnically diverse cast plays role after role (without missing a beat) and dances dance after dance (without missing a step), and that includes Nelson Balmore (Grandpa), Mirai Booth-Ong (Crystal; Imelda Marcos Impersonator), Kelly Ciurczak (Tiffany), Chris Clonts (Bum, Ronald Reagan Impersonator), Kalila Horwitz (Glen’s Secretary), dance captain (and dance standout) Esteban Hurtado (Mookie), Sara Kaner (Airline Agent), Natalie Kahn (Angie), Daniel Koh (Ricky the Bartender), Crystal Bibi Moh (Junior Executive), Michael Muita (Sweet Jim), Helena Nelson (Sales Clerk), Kelsey Nisbett (Nancy Reagan Impersonator), Eileen Cherry O’Donnell (Cyndi Lauper Impersonator), Gianna Pira (Waitress), Morgan Rysso (Donatella), Hollister Starrett (Billy Idol Impersonator), Jacques Chevelle Tolefree (Donny, Mr. T Impersonator), and Jacklyn Uweh (Tina Turner Impersonator).

Koh scores musical direction points for cast harmonies, though if ever there was a Morgan-Wixson musical that cried out for a live band and accompanying big sound, it’s The Wedding Singer, which suffers from tinny background tracks and insufficiently amped vocals.

There can be no carping whatsoever about director/designer Mattson’s couple-hundred-plus absolutely fabulous costumes, featuring every single bit of saturated-color awfulness that make an outfit instantly ’80s, and Alejandro Bermudez’s almost equal number of teased, crimped, and permed wigs look every bit as fab.

The Wedding Singer is produced by Spencer Johnson. Jullian Stern is assistant to the producer. TJ Biggs is assistant to the director. Tom Brown’s multi-purpose set is lit by William Wilday, who doubles as technical director. Ashley DeFrancesco is stage manager. Angelica Roque and Montelibano are swings.

It’s anyone’s guess why The Wedding Singer hasn’t achieved nearly the regional success of its fellow 2000s musicals Hairspray and Legally Blonde. (Maybe language, maybe name recognition, but who knows?)

Fortunately for L.A. audiences, Morgan-Wixson Theatre is doing its best to remedy that in the most entertaining of ways. Expect to be driving home with a smile on your face and the ‘80s in your heart.

Morgan-Wixson Theatre, 2627 Pico Boulevard, Santa Monica.
www.morgan-wixson.org

–Steven Stanley
July 5, 2019
Photos: JDC Photography

Tags: Chad Beguelin, Los Angeles Theater Review, Matthew Sklar, Morgan-Wixson Theatre, Tim Herlihy