Displaying items by tag: Jamie Dillon Grossman

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.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Who will the best speller be? Who will be able to withstand the pressures of competition? Who wants it the most? I’m sure these are among the questions you must be asking yourselves once the play begins. Well, without giving the ending of the story away, I’ll just say that it’s the audience that has the most F-U-N, FUN. 

I thoroughly enjoyed watching this bright, funny and talented cast in Music Theater Works’ brand new production of the Tony Award-Winning musical, The 25th Annual Putnam County Spelling Bee, now being performed in the North Theatre at North Shore Center for the Performing Arts in Skokie. The hit musical, conceived by the mind of Rebecca Feldman is superbly executed thanks to its fine direction and choreography by Christopher Pazdernik, Keeley Vasquez who assists in both said areas, and with music direction by Michal McBride. 

The Putnam County Spelling Bee is exactly what you would imagine happens every year when a collection of the nerdiest, most sensitive and intelligent students from the local county schools come together to face their fears on the big stage to take home the first place trophy for best speller. And, to add a little more fun to this particular spelling bee, it also requires a good amount of improvisational participation from audience members who might just be called down to compete with the students. Even if you’ve seen this play before, there will always be new “cast members“ chosen from the crowd that create unpredictable comedy performed on the spot each night making every experience unique.

The musical, while on one hand provides so many humorous moments, also brings to light the very real pressures of student competition. We see the occasional tears and panic attacks while students compete against each other for a small prize (literally a 12” high trophy and $200 that goes toward future education). We see that winning or not can have big consequences at home and/or in their own psyche. But we also see how competition can bring people together and how it can help us learn about ourselves.

Neala Barron who plays the zealous, rule-following spelling bee supervisor (and one-time winner), Rona Lisa Perretti, pairs up with Zach Kunde who takes on the role of Vice Principal Douglas Panch to conduct the competition. Kunde and Barron have great chemistry together and draw lots of laughs from the audience as they provide the words for the students to spell, along with their definitions, use in a sentence and countries of origin. Michael Davis Arnold plays Mitch Mahoney, the assigned “comfort counselor” who is ready with both a hug and a juice box for the next eliminated student. Arnold and Barron both have tremendous singing voices that stun the audience with their solos in this mostly ensemble piece.  

Will Koski, who plays William Barfee’ has stand-out comic and physical timing comedy as his character finds it necessary to spell out each word with his “magic foot” on the floor. Jamie Dillon Grossman is terrific in her role as the adorable, super intelligent, activist, future Congress-bound Logainne Schwartzandgrubeniere, who is under a tremendous amount of pressure to win because her dads “hate losers”. 

Mai Hartwich is a perfect fit as Marcy Park, the student who is capable of speaking “six languages” but is under a great deal of inner pressure to be perfect in everything she does, which includes winning every spelling bee she enters. Hartwich has a great aha moment during the song “Marcy’s Epiphany,” where Marcy realizes that by deliberately spelling a word wrong and losing the spelling bee on purpose, she’s, in many ways, actually taking back her own power so she relax, have fun and return to pursuing what she really wants to wants to do with her life. 

This is a production where truly the entire cast delivers. Joe Lewis is well cast as cape-wearing Leaf Coneybear while Brandon Acosta tackles his role as Chip Tolentino and shines in his performance of “Chip’s Lament,” a whimsical number about how he was distracted by his “unfortunate erection”. Rachel Guth is a pleasure to watch as she plays the sweet and anxious Olive Ostrosky, an only child whose father does not show up for the spelling bee. With her parents on the go so often, Olive has spent most of her lonely childhood at home alone reading the ancient family dictionary because there was no one around to talk to. During the competition she repeatedly looks to row eight to see if her father has arrived to take the seat she reserves for him. Guth has a strong singing voice and especially displays her vocal talent, along with Barron and Arnold, when they team up for the number “The I Love You Song.”      

Director, Christopher Pazdernik does a great job with the pacing and movement of this bright and breezy production. Pazdernik mentions in the program the life lessons that this play should remind us of - to work hard and be proud of ourselves, but that winning isn’t everything! Also, be kind to others and don’t take life so seriously! The 25th Annual Putnam County Spelling Bee points out that as children and adults we put way too much pressure on ourselves to be perfect - to WIN first place and to impress ourselves and others in our family, and by doing so miss out on the joy of the moments completely.

I wasn’t a spelling bee kid, but I was a thespian competitor in high school and, as one spelling bee student after another had to be eliminated, I couldn’t help but relive my own memories of intense anxiety arising before, after, and during our national thespian competitions - which had no cash prize at all. That being the case, I really related to Michael Davis Arnold’s “Prayer of the Comfort Counselor,” which he knocks out of the park vocally.

I highly recommend this Music Theater Works production of The 25th Annual Putnam County Spelling Bee staged in the lovely and intimate North Stage in the North Shore Center for the Performing Arts for audiences of all ages.