Reviving the '80s

MANILA, Philippines - Now on its last weekend at the Meralco Theater, 9 Works Theatrical’s production of The Wedding Singer is a rambunctious, energy-laden musical trip down the ’80s. The bouffant hairdos (and I’m talking about the men), military jackets, references to Flashdance, the musical artist when he was still known as Prince, Lee Iaccoca, the Billy Idol, Cyndi Lauper and Tina Turner copycats, they all form elements of the atmosphere-laden setting for this musical comedy that pays salute to the Adam Sandler/Drew Barrymore film most of us remember fondly.

If you recall the film, the plot revolves around Robbie (Gian Magdangal) who works as the lead singer for a wedding band along with Sammy (Lorenz Martinez) and George (Johann dela Fuente); and how in the course of performing, he develops a relationship with Julia (Iya Villania) who regularly does waitress duty at the weddings, along with best friend Holly (Nikki Valdez). Both Robbie and Julia are involved with someone else at the onset; Robbie with rock band groupie, Linda (Myrene Santos), and Julia with Wall Street broker Glen (Jeremy). And as for the material that’s inspired by an Adam Sandler film, there’s not much depth, nuance, or texture to anticipate, but a lot of unadulterated fun, all-out humor, and original music that exuberantly recaptures the feel and mood of the ’80s.

Gian and Nikki are established singers and theater performers, so it’s great to see them back on the stage, attacking their roles with gusto. The real surprise here is Iya — other than Footloose in 2005, we really haven’t seen her on the Philippine stage often enough and her singing voice, delivery and confidence are wonderful to watch. And if scene-stealing is your favorite spectator sport, rush to this production. I had Johann dela Fuente (George as in Boy George), Pinky Marquez as Rosie, the mother of Robbie, and Myrene Santos (Linda a.k.a. the Bride from Hell), all vying for scene-stealer of the night.

If there is a criticism to be levied, it would have to do with the original material, as the musical goes on for a bit too long — but perhaps that has to do with the conditions in acquiring the rights. Some editing may have helped, as I don’t think the scene of performing at a bar Mitzvah will be that funny or relevant for a local audience. A little local flavor is injected when the Las Vegas sidewalk copycats appear, and I’ll leave that for you to discover when you watch the play. But having said all that, one can’t deny the irrepressible enthusiasm that grips us from the opening number. If the ’80s was all about celebration, this musical certainly knows what that was all about, and it’s there for us to enjoy.