OB Playhouse has really started to find their niche when it comes to the shows they want to present: racy, raucous, exhilarating funhouses with ultra-talented singers, presented cleverly within the tiny, minimally-arrayed stage. Their boisterous production of “The Wedding Singer” was no exception. This energetic Tony-nominated comedic musical based on the film of the same name brings us back to Ridgefield, NJ during the fun-loving 80’s, yet with a slight wink to a modern day audience who could still catch the humor regardless of their age. The very catchy and 80’s inspired score by Matthew Sklar pairs well with the ultra-clever lyrics by Chad Beguelin. This production brings us back to the days of big hair, shoulder pads, and lots and lots of denim.
Dakota Ringer plays Robbie, a recently-dumped wedding singer who falls for Kay Marian McNellan’s Julia, a newly-engaged waitress, who works a lot of gigs where he performs. Their chemistry is very believable, and once they begin to sing together, you are hooked into this relationship. Ringer’s tender notes provide a rounded character for him, overcoming the sometimes sappy dialogue. McNellan makes Julia ooze with charm and likeability with her girl next-door je ne sais quoi, and her voice melds beautifully with Ringer’s. The rest of the ensemble was very strong and asked to do a lot of character changes with several costumes and wigs, as well as a lot of moving around of set pieces on this tiny stage. Especially of note were Megan Mattix as the lascivious ex-fiancé Linda, and William BJ Robinson, who provides so much energy and effort in all the roles he is asked to convey, in addition to his strong baritone. The obvious scene-stealer is definitely apparent once you see Heather Deerfield’s loving Grandma Rosie break into her now-famous rap song.
Amanda Blair directs this energetic cast with a great balance of over the top humor and pathos. The musical direction, by Will Ah Sing, a frequent OB contributor, gave us strong nostalgic 80’s vibes that this show is chock full of. The main star of the show might have been the several choreographed numbers (Jennie Gray Connard) that were all very distinct, yet familiar. All of the dances being crowded upon that compressed stage was no easy feat. At times, it may have worked better to utilize more space to place the actors in the actual house; nonetheless, a greatly commendable task.
A couple of sightline problems did occur, especially with the “dumpster” scene, which understandably seems like an impossible task in that theater. Some other quick scenes could have used a little more attention to detail, and maybe more effort than just a projection describing where the place is. At the performance I was at, some of the mics hadn’t been checked or turned on until later on, which was a real shame since we missed out on the vocals in the otherwise exhilarating opening number.
This play falls very much in the wheelhouse for this theater, and by the response of the crowd, OB Playhouse is doing things right. The show isn’t necessarily deep or complex, but the rousing dance numbers, tight harmonies, nostalgia factor, is everything you want and need from the 80’s. Playing at the OB Playhouse on Thursdays-Sundays, now extended until March 10th! For tickets see: https://www.obtheatrecompany.com/.
Photo credit: Adriana Zuniga-Williams
San Diego Theatre Reviews 