The Cast Photo by Jennifer Heim

But the nostalgia didn't stop there. For me, The Wedding Singer also carries the glow of the late '90s when the film version starring Adam Sandler and Drew Barrymore first came out. While I was only six in 1985 and that decade feels more like a hazy memory, I was squarely in my teen years in 1998 and loved everything about the original movie. Add in the fact that I grew up in Arlington Heights, where the Metropolis is located and this felt like a full-circle night of nostalgia.

And yet, this production doesn't lean into the wistful "I wish I could go back" kind of nostalgia. Instead, it invites the audience into a full-on celebration. From the moment we entered the theatre, we were greeted by a set that looked like it had been lifted straight from a banquet hall: raised platform stage, shimmering silver streamers, and silver party banners draped across the front. Milo Blue's set instantly set the tone: this was going to be a party! As the band, under the direction of Carolyn Brady, slowly trickled onto the stage, where they remained for the show, the energy in the room began to build and it never let up. Everywhere I looked, people were smiling, and that joy carried through the entire performance.

The musical–written by Tim Herlihy (two songs from the movie, lyrics, and co-bookwriter based on his screenplay), Matthew Sklar (music), and Chad Beguelin (lyrics and co-bookwriter), plus two original songs from the film by Adam Sandler–follows the movie plot fairly closely (though, revisiting it recently, thanks to the Love Factually podcast, did make me rethink a few of those '90s rom-com assumptions). Robbie Hart (Abraham Deitz-Green) is a wedding singer who seems pretty happy with his chosen profession until his fiancée Linda (Katherine Abel) leaves him at the altar. As his friends and bandmates George (Andres J. DeLeon) and Sammy (Danny Dollase) try to pull him out of his spiral, Robbie forms a connection with Julia (Teah Kiang Mirabelli), a wedding waitress navigating her own complicated relationship with the slick and self-absorbed Glenn Guglia (Peyton Schoenhofer). As Robbie helps Julia plan her own wedding, it becomes increasingly clear they are falling for each other. But how that plays out is where the story finds its heart.

I had not been to a show at the Metropolis in some time and it felt especially meaningful to be back in my hometown. How lucky to have a beautiful and thriving theater in a beautiful and thriving downtown. Arlington Heights was buzzing that night with the opening of its now annual tradition of summer al fresco dining and, while the chilly Chicago spring weather kept most of us indoors, it was clear what a magnificent night out this dinner/theatre combo would make. The theater strikes a wonderful balance: intimate enough to feel connected to the performers, yet large enough to support strong production values. Director Amber Mak uses the space beautifully, with actors frequently moving through the aisles, drawing the audience directly into the action and reinforcing the sense that we're all part of the party.

The cast embraces that energy fully. The supporting ensemble leans into the exaggerated personalities of the 1980s with clear commitment and joy. DeLeon and Dollase shine as Robbie's bandmates, with DeLeon's George capturing the era's coded ambiguity with humor and nuance, and Dollase delivering the lovable, goofy best friend. Schoenhofer's Glen oozes just the right amount of slimy Wall Street sleaze (and yes, the oversized car phone–kudos to props designer Reiley Duffy–is a perfect touch). The standout among the supporting cast, however, is Jamie Dillon Grossman as Holly. She is magnetic and every time she steps onstage, the energy lifts, and it's impossible not to watch her.

Deitz-Green's Robbie carries just enough of Sandler's original spirit to feel familiar while still making the role his own. His performance balances humor and heartbreak effectively, supported by strong vocals. Mirabelli faces the challenge of stepping into a role made iconic by Barrymore, and while the character itself offers limited depth, she brings warmth and vocal strength that keep us invested in her journey. Even when her grounded portrayal contrasts with the broader comedic style around her, the emotional core of her performance remains clear.

The Wedding Singer at the Metropolis is a nonstop party. With vibrant and ever changing '80s costumes by Matthew Carl and high energy choreography by Nich O'Neil, the show leans fully into its joyful, over-the-top world. By the final number, my face genuinely hurt from smiling. For two hours, I was swept up in the romance, the humor, and the irresistible fun of a totally tubular throwback.

The Wedding Singer runs through May 24, 2026, at the Metropolis Performing Arts Centre, 111 W. Campbell Street, Arlington Heights IL. For tickets and information, please visit www.metropolisarts.com.