The Wedding Singer as presented by Dunboyne Musical Society

Dunboyne Musical Society

The Wedding Singer

Wednesday 23rd April 2025

‘The Wedding Singer,’ an upbeat love story based on the 1998 movie of the same name, has been a very popular choice this season. With its hilarious book and catchy 80s style tunes that sound like familiar hits of yesteryear, what’s not to love? Dunboyne Musical Society took on this totally awesome show which parodies the excesses of the 1980s, with many side-splitting moments, lots of exhilarating choreography and nods galore to 80s pop culture. For anyone who lived through the era of big hair, legwarmers, and Rubik’s cubes, it was a highly nostalgic romp. Even if you never heard of MC Hammer or Mr. T, you couldn’t but be swept along on a wave of positivity, by what was a thoroughly entertaining show which leapt off the stage.

I was met with a very warm welcome at Dunboyne Community Centre and the spacious entrance area at the back of the hall ensured that things moved quickly and efficiently as the audience arrived for the show’s opening performance. It had been a few years since I last saw a show at this venue and I was delighted to see that the installation of tiered seating has made a significant difference to the layout, providing a much more pleasurable theatrical experience.

Director Orla Mulreid Deane brought great energy, pace and attention to detail to this show.

Her hard work was evident at every turn. She had a great eye for casting with some exceptional performers in the principal roles who gave us well-rounded, believable characters who were very in tune with the comedic style of the material. There were some lovely touches throughout, including the clever throwing of the bouquet and the swapping of Rosie for her ‘’body double, which was hilariously executed. Pace was slick throughout and great attention was given to the myriad comedic moments. Very strong work from Ms. Mulreid.

Musical Director Caitríona Ní Threasaigh had assembled a band to die for, which brought the catchy score of 1980s style, synth-driven pop to life. There was great attention to detail in the harmony work, particularly amongst the ensemble, with great precision and accuracy in evidence. Choral vocals were very well balanced. Ensemble singing in ‘It's Your Wedding Day’ was excellent, getting the show off to a rocking start. ‘All About the Green’ was a standout number, which exquisite harmonies from the ensemble. There was great sensitivity to underscored dialogue, with every word being heard. A super job overall from Ms. Ní Threasaigh.

Gráinne Kennedy choreographed with great flair and a dynamic touch. Ms. Kennedy was in tune with the era's style and her choreography added greatly to the comedy of the show. ‘It's Your Wedding Day’ was a high energy, joyous and exhilarating opening. ‘Casualty of Love’ was another great number, full of great energy and precision, and I loved the Thriller-esque moves, firmly rooted in 1980s pop culture. ‘Saturday Night’ was a huge number, very impressive in its energy and synchronicity, culminating in Holly getting soaked in what was a technical triumph. ‘All About the Green’ was excellent, brilliantly devised and performed by a very capable troupe of dancers. The euphoric finale was full of unbridled joy. A great job overall by Ms. Kennedy.

Daniel Whelan gave an outstanding performance in the titular role of wedding singer Robbie Hart. He brought great energy and many layers to the role. A natural comedian with excellent timing, Mr. Whelan was hilarious throughout. This was a most engaging performance winning over the audience from the get-go. His singing was excellent with a superb range, from the full-on rock numbers to the gentler ballads. ‘Somebody Kill Me’ was hilarious in its over-the-top performance. ‘If I Told You’ was a musical highlight for me, a most beautiful duet with Julia. Not content to just sing, dance and act up a storm, Mr. Whelan was also a dab hand at playing the guitar, a quadruple threat if you will.

Emmagene Cooke was a sweet, goofy and sometimes feisty Julia. This was an exceptional comedic portrayal, the standout performance of the show. Comic timing was exceptionally good throughout and diction was impeccable. Ms. Cooke was a most clever actress, with a great capacity for storytelling, finding layers within the songs and dialogue that are not always picked up on. ‘Come Out of the Dumpster’ showcased a fabulous musical theatre voice as well as her sharp comedic touch. She made Julia both likeable and hilarious in equal measure. An excellent all-round performance.

Nicole Lamb was very strong as Holly, bringing great comic understanding to the role of Julia’s “fairy godmother, only slutty!” Ms. Lamb was uncharacteristically brash and in your face, in a performance which was underpinned by clever interpretation of script and deft comic timing. Her fabulous vocal in ‘Saturday Night’ was a tour-de-force and a fitting high-octane ending to Act One. She worked very well with Ms. Cooke and timing between the two was particularly impressive. A wonderful all-round performance.

Multi-instrumentalist Eoin Kenny, bass player and guitar player extraordinaire, rocked his mullet with panache as Robbie’s fellow band member Sammy. This was a portrayal which was quite different to what we might be used to, less of the lovable loser, with a more no-nonsense, stern demeanour. However, it was an interesting take that really worked. Sammy has some of the funniest lines in the show, and Mr. Kenny relished in his delivery.

Taylor Hynes was a vivacious, delightfully camp George. The beauty of this performance was that he never fell into the trap of overplaying things. It was all very contained yet hilariously funny. His Spandau Ballet-esque ‘George's Prayer’ was hilarious and wonderfully pitched with his over-the-top riffing at the end of the song. He was quite brilliant in ‘Move That Thang’ with Rosie, a comic highlight of the show.

Cormac Dredge gave a great performance as the materialistic, sleazy, and money-obsessed antagonist Glen. His vocal performance in ‘All About the Green’ was excellent and his presence and comic timing were top-notch.

I never thought I'd write the words ‘Gladys Coyle’ and ‘sex-obsessed granny’ in the one sentence, but there you go. Ms. Coyle was excellent as Robbie's grandmother, Rosie, really buying into the absurdity of the character and nailing some of the best, cheeky one-liners in the show. ‘Move That Thang’ was brilliantly performed with boundless energy (I want whatever she’s drinking!) and Ms. Coyle's rapping and movement were top drawer, even if my knees were screaming at me as she did her thing. Her body double, perfectly chosen, provided one of the most unexpected comic highlights of the show. A really superb all-round performance.

Robbie's ex-girlfriend, Linda, was played by a scene-stealing Aoife Joy Keogh. Ms. Keogh enjoyed every single second of her time on stage. ‘A Note From Linda’ was quite hilarious and ‘Let Me Come Home’ was brilliantly performed with uninhibited glee. A top-notch performance from Ms. Keogh.

Lisa Farrell was very manipulative as Julia's mother, Angie, who goes so far as to suggest that she fake a pregnancy for monetary gain. Her preoccupation with materialism underlined just how shallow she was. A really strong cameo performance.

There was wonderful energy from the ensemble from the outset. The brilliantly performed ‘It's Your Wedding Day’ was sung and danced so well but the cheering and shouting in the dance breaks elevated things to another level of energy. Shout out to the drunken best man who rocked the house with his rock-the-boat. There was excellent work from the gents in ‘Single,’ with their wonderful performance levels. The ensemble was very strong throughout, whether as wedding guests, office workers, or the myriad background characters in the show.

Stage manager Simon Deane did very good work in ensuring that the show moved along at a brisk pace. There needed to be better coordination between crew and LX when the bed was being slid in and out, as hands could be seen behind the set. There was great use of both crew and cast to set and strike items. The keyboard being set during ‘Come Out of the Dumpster’ was a little distracting and might have been better handled by using crew as ‘roadies,’ setting the band up at the top of the next scene. There was great work from crew in the perfect timing of Holly's water drop at the end of Act One.

The set was quite minimalistic but it was visually very pleasing. The Rubik's Cube flats were perfectly evocative of the 1980s and provided a wonderful backdrop for this very colourful show. The slide out bed worked well as did the very effective restroom set which was trucked on and off. I loved the very clever steps which converted into the dumpster. It was a most effective design with upper levels that provided great options for Ms. Mulreid’s staging and allowed for a very fluid playing space with plenty of room for the large cast.

I felt that there was room for improvement in the lighting plot. Snap cues were often sudden and jarring where fades in and out of transitions might have worked better. Blinding the audience in the chorus of ‘A Note from Linda’ felt unnecessary and, for some, uncomfortable. There was nice use of dramatic, red light in ‘Somebody Killed Me,’ which was very effective. ‘Saturday Night’ was very well lit, with superbly appropriate colour and movement which was perfectly suited to the number. There was great work too in ‘All About the Green.’

Sound design and operation were generally very good. Cueing was excellent and there was very good balance both in the band and between the band and vocalists. There was good use of appropriate sound effects and clever use of reverb when the on-stage band made their announcements. There were a few minor glitches with interference but, in general, for an opening night, this was a very smooth technical presentation from the sound department.

Props were generally very good. I loved Glen's hilarious cardboard cutout car and George's fabulous keytar. Both added to the authenticity and visual humour of the show. A few things required further attention to detail. Tables at the weddings were very bare and needed dressing. The empty paper shopping bags in the department store needed something in them to make them look full and weighted.

There was great authenticity in the costume plot which accurately reflected the era of questionable fashion choices. The band's blue sparkly jackets were suitably garish and I loved Linda's over-the-top wedding dress. ‘All About the Green’ was very slick with black trousers, braces, and a mix of blue and white shirts. Sammy's red leather trousers were a delightful fashion faux pas, as was Rosie's shell suit and her pink headband. Overall, costumes perfectly reflected the era.

Hair and makeup were strong. Crimpers were in high demand backstage, creating some very authentic 80s hairdos. Mr. Kenny's mullet was a delight and there was great attention to detail in the makeup with some very colourful 80s eyeshadow in evidence. George was suitably over-the-top and, generally, it was evident that thought and care had gone into replicating the era’s flamboyant hair and makeup choices.

Overall, this was a very well-presented production, with some standout performances, particularly from Ms. Cooke and Mr. Whelan, who both elevated the production to a professional standard every time they stepped on stage. It was a wonderfully fun evening’s entertainment from start to finish.

Pat McElwain

Gilbert Adjudicator 2024/2025

Photos by AKW Media