The Wedding Singer as presented by Cecilian Musical Society

Public Adjudication 

The Cecilian Musical Society 

The Wedding Singer 

Saturday 23rd November 2024 

The Wedding Singer is proving to be a popular show this season. With a nostalgic nod to the 1980s, it is a feelgood romp with a classic rom-com narrative. A very funny book and an infectious, 80s-inspired score, combine to make for a hugely entertaining few hours of pure escapism. Sondheim, it is not. But, for me, any show that can get away with lyrics such as “Oh Linda, you make me feel, like a fur trapper clubbing a seal” without the audience staging a mass walkout, deserves to be seen! The Cecilian Musical Society knew the gig and milked such comedic elements of the show quite unapologetically. It was a vibrant, colourful production, very worthy of the wonderful Lime Tree Theatre stage. 

Front of House set a fun tone for what was to come. Society members wore brightly coloured shell suits in homage to the dubious fashion sense of those of us who remember wearing such high-end fashion back in the day. Rubik’s cubes and other 80s paraphernalia helped us all enter into the spirit of things before taking our seats. The funny pre-show announcements, courtesy of ‘George,’ had us nicely warmed up before the main event. 

Director Des Henn gave us a highly entertaining show, with a strong blend of humour, romance, and nostalgia. It was a slick, well-rehearsed production that rattled along at a frenetic pace, with smooth transitions and fluidity between scenes. There was a tendency for principals to break the fourth wall and play lines directly to the audience on occasion, which jarred. Little bits of detail needed more attention. The glasses on Julia’s tray, as she entered the opening scene, were all empty. In the revolving restaurant scene, everyone ‘drank’ from empty glasses. The waiter ‘poured’ a drink for Tiffany without taking the lid off the bottle and she proceeded to ‘drink’ from her empty glass. Lots of work had clearly been done on characterisation and relationships between characters. There were so many standout performances in this show under Mr. Henn’s guidance. Overall, a really solid piece of direction with a strong eye for comedy, pace, and good attention to characterisation. 

Michael Young did an excellent job as musical director. Conducting from his keyboard, Mr. Young got an amazing sound from his ten-piece band. Well chosen keyboard patches gave us a really authentic 80s sound which captured the vibrancy of the era perfectly. There was great attention to detail in the choral aspects of the show, with superb ensemble harmonies, both onstage and off. Choral highlights included ‘Pop,’‘Casualty of Love’ and ‘All About the Green.’ From the upbeat ‘It’s Your Wedding Day’ to the beautifully sensitive ‘If I Told You,’ each number was perfectly judged by Mr. Young and his band. 

Choreographer Barbara Meany brought considerable experience to bear on this production. Routines were inventive, well-synchronised and very well performed. The opening ‘It’s Your 

Wedding Day,’ showcased a large ensemble cast, setting a tone of celebration and high energy which drew us in from the very start. ‘Saturday Night in the City’ was a brilliantly performed, fast paced number which drove the narrative as we were thrust into the bustling nightlife of the decade. ‘All About the Green’ was another very impressive number. I loved the clever and creative use of chairs in a routine which was extremely slick and sharp. How wonderful it was to see so many gentlemen on stage and performing with such great precision in ‘Single.’ This was brilliantly executed by the lads. 

Jason Ronan was a very charismatic Robbie Hart. He managed to balance this charisma with an engaging vulnerability which had us rooting for him right through the bumpy journey of his complicated love life. Mr. Ronan had good comic timing and very strong stage presence. He was very strong vocally, with superb tone and musicality. From the hilariously manic ‘Somebody Kill Me’ to the beautifully tender and sincere ‘Grow Old With You,’Mr. Ronan demonstrated a great understanding of the wildly contrasting styles that Robbie has to get to grips with. 

Kim Ronan delivered an exceptionally good performance in the role of Julia, the waitress at the apex of the show’s complex love triangle. There was a sincerity and authenticity about Ms. Ronan’s characterisation that made her utterly believable. Every word had meaning and every movement had a reason in this most convincing portrayal. Ms. Ronan’s comic timing was exceptionally good. She also had a wonderfully strong and expressive singing voice. I loved her very funny ‘Come Out of the Dumpster’ and ‘If I Told You,’ with Mr. Ronan, was beautifully delivered. The chemistry between herself and Mr. Ronan was palpable. A truly captivating performance on all fronts. 

Fulfilling the role of Julia’s “fairy godmother, only slutty” was the brilliant Alison Kearney. This was another exceptional characterisation. Ms. Kearney was hilarious in the role; unapologetically loud, brash, and flirtatious. She was so in tune with the comedic elements of the role, demonstrating wonderful comic expression and timing. This was a true ‘triple threat’ performance from Ms. Kearney. She gave a top-notch display of singing too. ‘Saturday Night in the City’ was an absolute tour-de-force of a number, performed with amazing presence, precision, and unbridled energy. 

Brian Curtin, in the role of Sammy, looked like he had just stepped out of a Delorean, as he sported the most authentic looking mullet I’ve seen since 1987. Mr. Curtin had a lovely, comedic charm, playing the stereotypical band member who isn’t so lucky with the ladies. There was great chemistry with his fellow bandmates. He really had great fun with the role. Mr. Curtin sang very well in ‘Today You Are a Man’ but really came into his own during the brilliant ‘Single,’ leading from the front with a superbly spirited performance. 

There are hardly enough superlatives to describe the performance of Jamie Sheehan as androgynous keytar player, George. This was a truly excellent portrayal of the flamboyant band member. In a role that can often be overplayed for laughs, Mr. Sheehan struck the perfect balance between comic campness and charismatic presence in a most convincing portrayal. His vocal performance provided many comic highlights. I loved the hilariously knowing, ‘Spandauesque’ ‘George’s Prayer’ which was squeezed for every drop of comic potential. And the fabulous ‘Move That Thang’ was the perfect showcase for Mr. Sheehan’s brilliant dance ability. 

Barry Danaher was truly obnoxious as the sleazy Wall Street banker, Glen. Mr. Danaher revelled in this villainous role, eliciting sharp intakes of breath from the audience at his misogynistic, self-absorbed antics. The epitome of materialistic arrogance, he was the perfect foil for the unfortunate, but ultimately more wholesome, Robbie. However, there was still a trace of comedic charm in Mr. Danaher’s portrayal that meant we didn’t despise Glen. We enjoyed disliking him and this subtle charm kept us engaged, in spite of his less likable qualities. He did very well in ‘All About the Green’ with a very strong, arrogant performance. 

Strength in depth is the hallmark of a great show and that was certainly the case here as Hilary Phayer took to the stage as Linda, Robbie’s ex-fiancée and the reason behind his heartbreak. This was a standout performance, very physically aware, which was hilariously funny and suitably over-the-top. Her attempted seduction of Robbie was brilliant in all its duplicitous glory. ‘Let Me Come Home’ was one of the best vocal performances of the night as Ms. Phayer delivered a powerhouse, riotous romp which was both sensual and disturbing in equal measure. 

Gráinne Hartnett was a sprightly and very funny Grandma Rosie and boy did she enjoy every minute on stage. She had a wonderfully slow and measured physicality which contrasted brilliantly with her energetic antics in ‘Move That Thang.’ I’m still wincing at her very impressive splits! Blessed with a youthful visage, Ms. Hartnett could have benefitted from a few ‘lines’ to age her a decade or two. However, this didn’t take away from what was a really entertaining performance. 

Gillian Hunt played Julia’s mother, Angie, a bitter divorcee with a dubious moral compass. Ms. Hunt played the role very well and her shallowness shone through as she encouraged her daughter to cash in on Glen’s more favourable financial circumstances. 

There was a host of cameo performers, all of whom provided very strong support, helping to uphold the very high standards of performance across the board. Chief amongst those was Brian Henry who, with just a few short lines, gave one of the funniest performances of the night. Credited in the programme as Bum, Mr. Henry was far from the butt of anyone’s jokes in his very humorous take. 

The ensemble members in this show were energetic and very focused as they became wedding guests, nightclub revellers, office workers and a myriad other characters. They danced with great precision and performance levels and their choral singing was excellent. Great work from all involved. 

Ray Burke did a really good job as stage manager. Changes were so slick and transitions from scene to scene were choreographed perfectly to ensure that there was no let-up in pace. As efficient as these changes were, I wished, from time to time, that crew weren’t visible. A really small point which might have made what was already an excellent job even better. 

The set design was a clever blend of modern technological elements and more traditional set pieces. Multiple screens allowed for quick transitions between locations. With technology, however, can come technological glitches and the screens were, unfortunately, a little ‘glitchy’ at times, causing some distraction. Content was dynamic, enhancing the storytelling at all times. Fading some of the images in and out might have been a good idea as they were very abrupt at times. The physical elements of the set were so well constructed and beautifully finished. The house was most impressive and the sinks, along with the toilet cubicles, looked great, as did the dumpster. I also loved the floor with its very 1980s neon lines. 

Lighting was very impressive for the most part. It was colourful, bold, and dynamic in the dance numbers yet sensitive and atmospheric in the more tender moments. There was really good attention to detail in complementing what was happening on the screens. Haze and gobos were used very effectively, especially in ‘Saturday Night in the City’ which looked fabulous. LED battens worked really well, particularly the well-timed ‘stabs’ during ‘Casualty of Love.’ Things were let down a bit in ‘George’s Prayer’ as the cues for dialogue were always a little late. For me, it appeared that the operator was going on the lines rather than anticipating the lines. 

Sound was in great hands, with excellent cueing and clear, warm dialogue settings throughout. Sound effects were perfectly chosen and at appropriate levels. The vibrating bed effect raised quite a few giggles! The band sound was excellently mixed and it was so refreshing to hear every word, in every song. Choral singing, both on stage and off, was outstanding in its balance and the vocal warmth. Underscored dialogue was also given great attention. Again, we heard everything. Even though we lost Rosie and George’s mics momentarily in ‘Move That Thang,’ we could forgive that minor lapse as everything else was so good. 

Props were appropriate to the decade, for the most part. The wedding cake looked well and items such as the crates and trash cans added to the authenticity. Glen’s phone, with its enormous battery, was hilarious and the perfectly chosen bedclothes had obviously been sitting in someone’s hot press for the last forty years. Rosie’s Walkman was a funny and nostalgic nod to the era. The CD player box was obviously empty though and needed something to give it a bit of weight. 

There was great work from the costume department, capturing the distinctive style of the 80s. From the coordinated baby blue of the opening wedding party to the band’s matching jackets, there was meticulous attention to detail. Individual looks like Julia’s cutesy dungarees, George’s flamboyant attire, Sammy’s red leather jacket and Rosie’s luminous lycra added so much to the authenticity and visual impact of the show. The Wall Street business uniforms were suitably sharp for ‘All About the Green.’ Holly’s wonderful outfits projected her flirtatious personality and Linda looked every inch the rock goddess. 

Hair and make-up were perfectly suited to the era. Sammy’s mullet took pride of place and George’s look had Karma Chameleon vibes. Great attention to detail from all involved. 

This was a super production of a most entertaining show by Cecilian Musical Society. The in depth talent in the company was such a pleasure to see. It was a real spectacle of a show with superb choreography, excellent musicality, and wonderful performances across the board. It was a pleasure to be in attendance. 

Pat McElwain 

Gilbert Adjudicator 2024/2025