Review: THE PROM at Playhouse On The Square

Depending on which side of the sociopolitical fence you sit, things in America are either dramatically getting better or they’re getting worse. Issues surrounding abortion, banned books and even men performing publicly in drag have dramatically escalated the tensions and passions of what it means to be an American these days. Another such topic that vaulted the “who’s right and who’s wrong” debate erupted in a 2010 when a high school lesbian in Fulton, MS planned to attend the high school prom with her girlfriend while wearing a tuxedo. She was banned from the dance, chaos ensued, and news outlets couldn’t get enough. It was an interesting issue back then and it’s an even more interesting choice today for exploration as a musical comedy. Opening on Broadway in the fall of 2018, THE PROM written by Bob Martin, with music/lyrics by Matthew Sklar and Chad Beguelin “borrows” from this real-life drama and adds in four impossibly narcissistic Broadway veterans as “social warriors” to fight for this little girl to have her prom and win the day. It’s a show that tries to balance serious social commentary with silly buffoonery (a risky proposition for sure), but this regional premiere at Playhouse on the Square, under the direction/choreography of Daniel Stuart Nelson succeeds mightily as a confectionary delight!

Trying to find a vehicle to infuse comic relief into a story about bigotry and homophobia is no small task, so the creators chose to bring in the least self-aware thespians to save the day for the most self-aware lesbian. It’s a gimmick that surely lightens the mood, but also tends to overly shift the story from a persecuted teen to massively insecure adults. After being panned by critics in their latest musical, “Eleanor!: The Eleanor Roosevelt Story,” for being narcissistic divas, the two leads (along with their two self-centered buddies) decide to find a cause, storm into Indiana (here, Indiana is replaced for real life Mississippi) and do something “selfless” for “attention.” Yes, there is a “growth” arc for the prima donnas, but not before their tribulations come dangerously close to overshadowing the impetus for the original story.

As the scrappy, burgeoning activist Emma Nolan, Katy Cotten slides nicely into the role with a spunky spirit, melodious voice, and unruly heart. They perfectly inhabit the battle of being a queer kid in an unwelcoming place just trying to survive the day. You can’t help but root (and cry) for them. They're a gem.

Arielle Mitchell does a fine job as Alyssa Greene (Emma’s closeted cheerleader girlfriend). Her struggle trying to balance her secret life, being one of the “cool” kids and enduring the pressures of an overbearing, conservative mother is showcased nicely in her anthem, “Alyssa Greene.”

Lorraine Cotten is disturbingly believable as the Christian conservative head of the PTA and mother to Alyssa. With her “higher the hair, closer to God” depiction of a right-wing, close-minded bigot, Cotten convincingly showcases the angst and distrust that seems to propel most zealots-fear. Early on, it’s clear she knows what’s happening with her daughter, but just can’t bear to look.

School principal, Mr. Hawkins is the voice of reason amongst a sea of neurotic adults as he tries to reason with the protesting parents while also teaching others what it means to be less self-absorbed. As played by Claiborne Thomas, Jr., he’s a sweet man with a heart of gold.

The “fearsome foursome” who choose to invade the small-town Indiana community are each (and collectively) a delight to behold. As a last-minute replacement, Drew Sinnard fills in nicely as the never-let-you-forget Julliard graduate who can’t seem to hit it big, Trent. Sinnard finds ways to make the role his own and humorously finds ways to expose the hypocritical teens who cherry pick sins from the bible while ignoring the ones that are most convenient to them.

Whitney Branan maximizes her time on stage as the life-long chorus girl, Angie Dickinson. Like the character herself, Branan is a triple threat (outstanding actor, singer, and dancer) and offers up the best rendition of “Zazz” (a song about infusing energy and pizazz in everything you do) I’ve ever seen. If the songs “I Can’t Do it Alone” from CHICAGO and “I Can Do That” from A CHORUS LINE had a baby, “Zazz” would be it and it’s a highlight!

Dee Dee Allen, played by Annie Freres is as self-obsessed and demanding as a leading lady can be. Everything is about her and the idea of “doing for others” is a knife to her heart. Not only does Freres have the acting chops to inhabit Allen as the most impossible star to be imagined, but she also (as she does in every role she plays) blows the roof off the theatre with her vocal prowess, especially with her rendition of “The Lady’s Improving.” With Freres, you will smile, giggle and awe at the talent.

Finally, the best of the best, must be Jonathan Christian as the “dueling diva” Barry Glickman to Freres’ Dee Dee. His gargantuan ego is only matched by his colossal heart. Yes, Christian is given two of the best songs in the show (“Tonight Belongs to You” and “Barry is Going to Prom”), but Christian infuses his performance with a zest and energy impossible to resist. You’ll laugh, you’ll cry—he’s better than CATS!

The rest of the cast is rounded out by some incredibly hard-working singers and dancers. They all manage to, not only execute, but elevate Nelson’s intricate choreography with moves that are modern and electrifying. The technical aspects of the show are solid and support the action until taking things to the next (and best) level by the end.

Overall, THE PROM is funny, sweet, and inspirational. Yes, the show runs a bit longer than necessary and sometimes can’t decide which storyline should take precedence, but it’s a show full of humor and heart. Almost all of us can relate to wanting to feel accepted and unconditionally loved. THE PROM reminds us that despite life’s challenges and obstacles, we can still overcome and find joy in our small corner of the world. Afterall, when all else fails, maybe, just maybe, it’s time to dance.

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