Displaying items by tag: Carolyn Brady

The Wedding Singer is currently onstage at Metropolis Performing Arts Centre in Arlington Heights, offering a faithful and upbeat interpretation of the Adam Sandler–Drew Barrymore film. The production leans into the story’s rom‑com roots while making effective use of the Metropolis space, integrating ensemble work, clear character moments, and a series of well‑staged song‑and‑dance numbers to establish its easygoing, ’80s‑infused tone.

Before getting deeper into the production itself, it’s worth pausing to talk about the music. Not being familiar with the stage version - but very familiar with the film - I walked in fully expecting a night filled with Culture Club, The Cars, Depeche Mode, Dead or Alive, Huey Lewis, the B‑52s and, of course, Billy Idol. After all, Broadway has reimagined just about everything, so why not build a soundtrack from these great artists? But that isn’t what the musical sets out to deliver. While the film rolls out one 1980s hit after another, the stage adaptation replaces those songs with an entirely original score. Curious about the shift, and assuming it might be a budget decision, I did some digging - and here’s what I found.

Ok, so The Wedding Singer stage musical wasn’t conceived as a jukebox show. When Chad Beguelin, Tim Herlihy, and Matthew Sklar adapted the film for the stage, they chose to create an original score rather than license the movie’s well‑known pop hits. Securing rights to songs from multiple artists, labels, and publishers would have been enormously complex and prohibitively expensive (I was partially correct), and it would have limited the creative team to a patchwork of pre‑existing material. By writing new music, the creative team could shape songs around character development, pacing, and theatrical storytelling, all while capturing the spirit of the 1980s without relying on specific chart‑toppers. And while it may be a slight letdown for anyone hoping to hear those iconic hits, the production does nod to the film’s soundtrack: many of those artists play over the speakers as audiences enter, setting the mood with a warm wave of ’80s nostalgia before the show even begins.

From left - Cristina Benighoff, Kylie Tollefson, Jamie Dillon Grossman as Holly,  Teah Kiang Mirabelli as Julia and Jodi Gage as Angie. 

The musical adaptation of The Wedding Singer - with a book and music by the above mentioned Chad Beguelin, Tim Herlihy and Matthew Sklar - premiered at Seattle’s 5th Avenue Theatre on February 8, 2006, following previews that began January 31. It later transferred to Broadway, where it began previews on March 30 and officially opened at the Al Hirschfeld Theatre on April 27, 2006. Now, twenty years later, almost to the day after its Broadway debut, it has arrived in Arlington Heights.

For those anticipating a beat‑for‑beat version of the movie, the stage musical instead embraces a more expansive, stage‑shaped version of the story - exactly what a musical adaptation calls for. The core story and main characters remain, but it’s the show’s original songs, larger ensemble numbers, and broader comedic beats that naturally shift the tone. Certain plot points are streamlined, and some supporting characters are reimagined or expanded, while others, like the over-the-top lounge-singing character Jimmie Moore played by John Lovitz, don’t appear at all. The result keeps the spirit of the film intact, but filters it through the pacing, structure, and heightened style of a full musical.

At the center of the story is Robbie Hart, New Jersey’s go‑to wedding singer whose life unravels after his fiancée, Linda, leaves him at the altar. The musical charts his shift from upbeat crowd‑pleaser to heartbroken mess, blending the film’s familiar humor with a more expansive emotional arc. Robbie’s missteps, meltdowns, and attempts at recovery take on a brighter, more expressive energy onstage, all while staying true to the spirit of the original film.

Julia, the warm‑hearted waitress engaged to the wrong man, grounds the narrative and becomes the catalyst for Robbie’s rediscovery of hope. Their growing connection unfolds through new songs and heightened character moments as the two become closer and closer, surrounded by neon nostalgia and a fizzy sense of fun. By the time the show reaches its finale, it captures the same earnest, feel‑good spirit that made the Sandler and Barrymore film a favorite, now delivered with Broadway‑sized verve and a wink to every ’80s love story that came before it.

The score leans into the show’s 1980s setting with a mix of upbeat pop styles and earnest ballads, and while the songs themselves aren’t the most memorable, they’re delivered with strong vocals and crisp musical direction. Numbers like “It’s Your Wedding Day” and “Saturday Night in the City” bring plenty of energy, and pieces such as “Someday” and “If I Told You” give Robbie and Julia room to explore their emotional arcs. Altogether, the score creates a fun, nostalgia‑tinged atmosphere that supports the story even if the tunes don’t linger long after the curtain.

The Metropolis cast brings The Wedding Singer to life with an easy, infectious force that suits the show’s playful spirit. Abraham Deitz‑Green leads the production as Robbie Hart, offering strong vocals and confident movement throughout. His strength shows most clearly in the musical numbers, where his singing and dancing bring real appeal to the role and highlight where his talents truly land. His rendition of Adam Sandler’s “Grow Old with You” is especially sweet, giving the show one of its most heartfelt moments. There’s a sincerity in his approach that keeps the character engaging and makes it easy to root for him from start to finish. “Casualty of Love” lets Robbie hit rock bottom in spectacular fashion, and Deitz‑Green tears into the collapse with a mix of wild humor and crisp musicality.

Opposite Deitz‑Green, Teah Kiang Mirabelli brings Julia to the stage with a gentle warmth that immediately draws the audience in, and she positively glows as the character’s optimism and sincerity take shape. Her growing connection with Robbie feels effortless and genuine, supported by acting choices that are both clear and confidently delivered. Mirabelli gives Julia a grounded sincerity, a bright sense of humor, and a quiet emotional intelligence that enrich every scene she’s in. It’s a performance that consistently elevates the material and gives the show much of its heart.

Abraham Deitz-Green as Robbie Hart.

Around them, the supporting cast adds plenty of texture and momentum. Peyton Schoenhofer gives Glen just the right amount of slick confidence and the perfect touch of cockiness, while Andres J. DeLeon’s George and Danny Dollase’s Sammy bring sharp comedic timing to Robbie’s inner circle and enjoy several standout moments of their own, turning in multiple scene‑stealing bits that consistently lift the energy onstage. Jamie Dillon Grossman’s Holly brings a spark every time she appears drawing lots of laughs, and her vocals add real lift to the ensemble. Caron Buinis offers a crowd‑pleasing turn as Rosie, finding the humor in the role without tipping into caricature and ultimately delivering one of the show’s funniest performances. As Linda, Katherine Abel delivers a compact but very funny performance that adds just the right jolt of attitude.

The strong ensemble keeps the show moving with crisp choreography by Nich O'Neil and bright character work, giving the production a lively pulse from scene to scene. The airplane scene, packed with gleefully exaggerated celebrity impersonators, brings a burst of chaotic fun and stands out as one of the production’s funniest moments.

Guiding it all is director Amber Mak, whose steady hand shapes the blend of ’80s nostalgia, rom‑com sweetness, and high‑energy musical comedy. Her approach highlights the story’s heart without sacrificing its humor, creating a production that feels both affectionate toward the original film and confidently theatrical in its own right. The production maintains a lively pace from start to finish, striking a rhythm that keeps the story engaging without a single stretch that feels slow.

The glitzy, wedding‑themed set by Milo Blue gives the show a bright visual identity, and the choice to keep the live band visible throughout adds a dynamic, concert‑like presence that energizes every scene. Getting to watch the musicians play in full view is always a big plus for me. The band is beautifully led by Carolyn Brady - not Carol Brady; that would take us back to the ’70s.

One of the pleasures of this production is the steady stream of 1980s references woven throughout. A Mr. Belvedere shout‑out, a five‑pound car‑phone battery, a nod to the “Time to make the donuts” guy, and a perfectly timed “Where’s the beef?” all land with an easy, throwback charm. The show adds plenty of other touches from the era, delivered with just the right touch of silliness. From fashion jokes to pop‑culture moments I’m surely forgetting, each reference lands like a small time‑capsule detail that keeps the audience laughing and taps into the easy lure of the 1980s.

The Wedding Singer at Metropolis ultimately delivers a bright, good‑natured night out with plenty of laughs and well-choreographed musical numbers along the way. It leans into its ’80s nostalgia and rom‑com charm without taking itself too seriously, making it an easy pick for anyone in the mood for something fun and feel‑good. If you’re looking for a show that will lift your spirits and leave you smiling, this one is well worth the trip to Arlington Heights.

Through May 24^th at Metropolis Performing Arts Center.

For tickets and/or more show information, click here.

Beautiful: The Carole King Musical is a captivating tribute to the extraordinary journey of Carole King, tracing her path from a teenage songwriter to an iconic solo artist. The production delves into her personal and professional evolution, highlighting the creation of timeless classics like "It Might As Well Rain Until September," "Will You Love Me Tomorrow," and "You've Got a Friend." Alongside showcasing her musical triumphs, the show explores her relationships with fellow songwriters, including her husband Gerry Goffin, and friends and competitors Barry Mann and Cynthia Weil. Currently on stage at Drury Lane Theatre, Beautiful celebrates Carole King's enduring talent and profound influence on the music world. This captivating musical whisked me away on a sentimental voyage, and I'm confident it will resonate deeply with many others as well.

Raised in a Jewish household, her father a firefighter and her mother a teacher, both parents supported King's musical interests early on. Her mother, Eugenia Klein, began teaching her daughter piano at the age of four. Before long, the young singer/songwriter really tapped into something special as she matured into a once in a generation talent. King stayed true to her musical self and believed in herself when it mattered most, deciding to sing her own songs at just the right time. Who knew the heights this little-known Jewish girl from Brooklyn would someday reach - and, wow, did she ever!

Samantha Gershman is AMAZING and offers an enthralling portrayal of Carole King in her Drury Lane debut. With a perfect blend of vulnerability and incredible strength, Gershman captures the essence of the iconic singer-songwriter, bringing her inspiring journey to life with genuine warmth and exceptional talent. Gershman, fantastic throughout, really showcases her King-like vocals and magnetic charisma in a climactic concert scene, delivering a powerful performance of the title track "Beautiful."

Drury Lane’s casting is as dependable as ever. Alex Benoit delivers a nuanced and captivating portrayal of Gerry Goffin, capturing both his charm and the intricacies of his relationship with Carole King. Alexandra Palkovic and Andrew MacNaughton form a dynamic duo as Cynthia Weil and Barry Mann, infusing the stage with infectious energy and humor while showcasing their impressive songwriting talents. Rebekah Ward brings a grounding presence as Carole's mother, Genie, radiating warmth and wisdom, while Michael Lawrence Brown dazzles as the charismatic Don Kirshner. This well-cast, exceptionally talented ensemble elevates Beautiful, making it an unforgettable theatrical experience.

Jane Lanier's masterful direction of Beautiful illuminates Carole King's extraordinary journey, seamlessly blending the personal and professional milestones that shaped this legendary artist's career.

The choreography by Gerry McIntyre in Drury Lane's production of Beautiful with Carolyn Brady’s music direction is a perfect match for the show's infectious energy, bringing the musical numbers to life with dynamic and period-authentic movement. Their collective efforts enhance the storytelling beautifully, capturing both the spirit of the era and the emotional core of the characters.

I'll admit, I didn't know that Carole King wrote for some of the bands/performers that she did before her own singing  stardom. This show turned out to be quite educational for me. I was familiar with The Monkees' use of King's "Pleasant Valley Sunday" among other songs of hers, but I had no idea that King penned hits for The Shirelles ("Will You Love Me Tomorrow"), The Righteous Brothers ("You've Lost That Lovin' Feeling"), and Neil Sedaka ("Oh Carol"). Once again, sincere kudos to the entire cast, including Alana Lovely, Maxwell J. DeTogne, Lydia Burke, and Ryan Michael Armstrong, just to name a few. Thanks to this entire team of exceptional actors bringing these performers to life, this production offers a delightful glimpse into the vibrant mid-late 1960s music scene. 

This musical is a true masterpiece from start to finish, making it absolutely impossible not to enjoy.

Beautiful: The Carole King Musical is being performed at Drury Lane Theatre in Oakbrook through March 23rd. For the most current ticket pricing and show dates, it's recommended to visit the Drury Lane website (https://drurylanetheatre.com/beautiful/) or contact their box office directly, as prices vary depending on performance date, time, and seat location. The show runs approximately 2 hours and 30 minutes, including a 15-minute intermission. This feel-good musical, a wonderful tribute to Carole King's incredible talent and enduring legacy, is highly recommended for audiences of all ages.