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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.

Following a string of successful shows, Music Theater Works has once again hit the jackpot with their 2025 season opener, Guys and Dolls. This delightful production is currently wowing audiences at the North Theatre at the North Shore Center for the Performing Arts. With infectious tunes and clever lyrics by Frank Loesser, and a sharp script by Jo Swerling and Abe Burrows, the show is skillfully directed by Sasha Gerritson. Add to that the vibrant choreography by Clayton Cross and the expert musical direction by Linda Madonia, and you've got a performance that's guaranteed to keep you coming back for more!

Guys and Dolls is a timeless musical comedy that transports audiences to the bustling streets of 1950s New York City. The plot centers around the dynamic lives of several characters, particularly Nathan Detroit, a gambler running an underground dice game, and his enduring fiancée, Miss Adelaide, a nightclub singer longing for Nathan to finally marry her. To fund his next game, Nathan bets Sky Masterson, a high-stakes gambler, that he can't charm Sarah Brown, a virtuous mission worker. Sky takes up the challenge, and through a series of delightful and engaging interactions, he gradually wins Sarah's heart.

As the story unfolds, the characters become woven into a rich tapestry of love, deceit, and redemption. Sarah uncovers Sky's original motives but forgives him as they both realize their deepening love for each other. Meanwhile, Nathan's efforts to keep his dice game hidden lead to a blend of comedic and thrilling situations. The musical reaches a heartwarming and joyous climax, with Nathan marrying Adelaide and Sky and Sarah starting a promising new chapter together. Featuring memorable songs, lively dance routines, and a touching storyline, Guys and Dolls remains a beloved and timeless treasure in the world of musical theatre.

This well-cast ensemble driven production has an array of bright and talented actors that make this such a memorable adventure. Callen Roberts finesses the role of Nathan Detroit to perfection - a gambler who runs an illegal dice game and is engaged to Miss Adelaide. Roberts truly embraces his fast-talking, hustling persona, transforming the character into one of the show's key anchors and a standout presence. Jeffrey Charles is spot on as Sky Masterson, the suave gambler who wagers he can charm Sarah Brown, while Kristin Brintnall steals the spotlight as Miss Adelaide, Nathan's fiancée. Her blend of comedic timing and stellar vocals brings the nightclub singer's longing for a settled life to life brilliantly. Cecilia Iole shines Sarah Brown, a mission worker who becomes the object of Sky's bet but eventually falls for him. Iole’s vocals are nothing short of spectacular. A round of applause also goes out to the rest of the ensemble, who contribute to making this musical the delightful experience it is meant to be. Andrew Freeland brings down the house as Big Julie, serving up some of the show’s biggest belly laughs. Shoutouts are also well-earned by Ian Reed, Carey Lovett, Caron Buinis, Bob Sanders, and Peter Ruger, who each bring their own flair to the stage. And let’s not forget the dazzling Hot Box Girls—Jenny Couch, Catherine Rodriguez O’Connor, Emily Holland, and Emma Jean Eastland—who light up the stage with their sensational moves. These ladies can really dance! The entire cast? Absolutely top-notch.

(L to R) Jenny Couch, Catherine Rodriguez O’Connor, Kristin Brintnall, Emily Holland and Emma Jean Eastland in GUYS AND DOLLS, from Music Theater Works.

One of my absolute favorite things about the show was its incredible Times Square neighborhood set—it felt like you were right in the heart of the action! But what truly stole the spotlight was the eight-piece band playing up above for everyone to admire. Talk about a show-stopping touch! Equally impressive was how choreographer Clayton Cross utilized the stage space to accommodate such a large cast, creating a busy New York feel with heavy people traffic and such elaborate dance numbers.

Guys and Dolls is a must-see production that brings the vibrant streets of 1950s New York City to life with its captivating characters and delightful musical numbers. With unforgettable songs like "Luck Be a Lady," “A Bushel and a Peck,” and "Sit Down, You're Rockin' the Boat," this show is guaranteed to have you tapping your toes and humming along. Don't miss the chance to experience the magic, humor, and heart of this timeless classic—it's a theatrical gem that promises an evening of pure entertainment!

This might be the first production of the year, but plenty of action lies ahead for Music Theater Works. The 45th season lineup also features the following upcoming shows: Fiddler on the Roof from August 7 to 17, Godspell from October 23 to November 16, and Annie from December 18, 2025, to January 4, 2026.

Guys and Dolls is currently being performed at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd, Skokie and runs through March 30^th. For tickets and/or more show information, visit www.MusicTheaterWorks.com.

Highly Recommended!

Featured on https://www.theatreinchicago.com/

Just in time for the season’s first snowfall and the holidays, the Marriott Theatre in Lincolnshire serves up a delightful rockin’ adaptation of Hans Christian Andersen’s The Snow Queen, perfect for the entire family as its finale for the 2023 children’s theatre season.

Billed as the story that inspired the Disney megahit Frozen – indeed, there were many young audience members in full Elsa garb – the story follows the adventures of the brave, young Gerda, who is determined to find and rescue her best friend, Kai, who is trapped forever in the Snow Queen’s winter palace.

The Snow Queen is one of Andersen’s most highly acclaimed fairy tales, with its timeless story of the struggle between good and evil. In this production, Andersen’s beloved tale is transformed into a musical, set to an original pop-rock score that has something for everyone’s musical tastes.

The story itself is a bit complicated. Struck in the eye and heart by the splinters of a mirror stolen from the Snow Queen and cursed by a malevolent troll, Kai forgets his friendship with Gerda and becomes cruel and mean-spirited. Undaunted by her beloved friend’s rejection, the intrepid Gerda begins her journey to reclaim her friend, which takes her into a magical world filled with singing flowers and a zany group of talking crows, a wicked witch, who casts a spell to trick Gerda into becoming her daughter, a kind-hearted prince and princess, a hard-rockin’ punk robber girl and mother, and more!

Whether the Frozen devotees were disappointed that their favorite princess, Anna, Olaf, or Kristoff, were not on stage (there is a talking reindeer!), it didn’t appear to be the case. The mostly under-ten audience paid rapt attention throughout the hour-long production.

While the staging was kept to a minimum, with scene changes accomplished through a well-placed prop (cleverly camouflaged alongside the Marriott Theatre’s signature circular stage) and through two video screens flanking the stage, the talented ensemble kept their young audience engaged through non-stop action onstage and foot-tapping music that ranged from soulful ballads to a dance-party beat to a homage to punk rock.

This was my first time seeing a production at Marriott Theatre as well as my seven-year-old granddaughter’s first live theatre performance. It is the perfect venue for introducing children to live theatre as the sightlines are good and the audience is close to the actors and action. There’s even a question-and-answer session after the performance with the actors to further educate the next generation of theatregoers.

The production comes to life under the sure-handed direction of Landree Fleming with music direction by Michael Mahler and choreography by Katie Johannigman. The ensemble of five actors works hard throughout the show with the majority playing multiple roles through a deft change of costume – a hat, a coat, change of shoes – or a change of accent.

Veteran Chicago actor Caron Buinis (who’s also appearing in Marriott Theatre’s production of the Carole King tribute musical Beautiful) is simply wonderful as Gerda’s grandmother, the wise woman of the North, the witch, and the robber mother. Also returning to Marriott Theatre stage is Jeremiah Alsop, who plays the troubled Kai, as well as the prince and a singing flower.

The ensemble is rounded out with three actors making their debuts at the Marriott. Ryan Stajmiger captivates the audience in his multiple roles as the troll, the reindeer, the rose, and the head crow, Reginald, which he hilariously portrays as a droll, but proper British soldier. Add to that Alanna Chavez, who dazzles as the Snow Queen (my granddaughter’s favorite character), but who also can rock as the lonely, punk-rocker robber girl.

But it is Joryhebel Ginorio, in her debut at Marriott, who shines as the loyal and devoted Gerda. Ginorio brings a sweet soulfulness to her portrayal of Gerda and charms the audience with her vocal versatility and range. She has a beautiful voice, and I, for one, hope that this will not be the last Ginorio will be heard on Chicago’s stages.

As with all proper fairy tales, love, goodness, and friendship triumphs in the end – to the delight of the audience. And who knows? Maybe the young Elsa fans in attendance have found another heroine in the kindness, bravery, and determination of young Gerda.

The Snow Queen provides families with the perfect holiday entertainment with shows on most Fridays through Sundays at 10 am through Dec. 31. There are select 12:30 pm performances and plenty of holiday week performances scheduled.