The Wedding Singer began as a 1998 film with the surprisingly engaging pairing of Drew Barrymore and Adam Sandler. The later musical retains some of that film’s geniality and a good deal of its plot but is a rather longer affair. There are a lot of songs to get through. But under the capable direction of Amy Dunham and Sarah Hull, the Queanbeyan Players have a great time bringing this version of the 1980s to life.

Wedding singer Robbie Hart (Dave Smith) falls to pieces when his stroppy fiancée Linda (Emma White) dumps him at the altar. He’s increasingly attracted to sensible and sweet waitress Julia Sullivan (Emily Ridge). She seems headed for marriage with arrogant financier Glen Guglia (Michael Jordan) but is starting to doubt the match. Fellow waitress Holly (Josie Dunham) and Robbie’s fellow band member Sammy (Tim Styles) appear to have a love/hate relationship going on, which may or may not end in marriage. Over all hovers Robbie’s wonderfully crazy grandma, Rosie (Lauren Nihill), in whose basement Robbie is still living, pursuing his dreams of being a songwriter.

Every available surviving 1980s dress seems to appear on stage. Robbie sports a magnificent mullet hairdo and his band’s third member, George (David Santolin) is deliciously wedded to a flouncing Boy George persona that lifts every scene he is in. The weddings and bar mitzvah of the storyline are littered with the era’s fashion disasters.

The music is not particularly memorable but there’s a good sense of humour in numbers like Come Out of the Dumpster where Julia is trying to coax a despairing Robbie to haul himself out from a large garbage bin and face up to life. Ridge and Smith work well together. Ridge’s Julia is particularly likeable, tuneful and funny.

Music and choreography are snappily upbeat, set and lighting are cheerfully functional and the cast seizes its singing, dancing and acting opportunities with energy. The wedding reception tables are crowded with entertaining short character sketches.

It takes about two and a half hours for all of this to unravel its way to some expected conclusions. The musical does not quite rival the film’s scene on a plane where the real Billy Idol plays deus ex machina but there’s an agreeable and well played substitution that involves an Idol impersonator.

This is a show for those who are fond of the film and who perhaps remember the '80s and its fashions with nostalgia rather than alarm.