Review: THE PROM at Cary Players

From its opening moments, The Prom makes it clear that it isn’t afraid to be big, broad, and more than a little ridiculous. What begins as a satire of self-absorbed Broadway stars searching for a cause quickly becomes something much sweeter, balancing nearly nonstop laughs with a heartfelt message about acceptance, community, and the courage to be yourself.

The story follows Emma Nolan, an Indiana teenager whose desire to attend prom with her girlfriend leads the PTA to cancel the event entirely. Enter a group of down-on-their-luck Broadway performers who discover Emma’s story and descend upon the town, initially less interested in helping her than rehabilitating their own public images. Naturally, things don’t quite go according to plan.

Mike McGee’s direction understands exactly what makes the material work. The comedy is allowed to be big without losing the sincerity underneath it, and the production moves with an infectious energy that rarely lets up. At two hours and 45 minutes (including intermission), it’s a lengthy evening, but it certainly doesn’t feel like one. The pacing remains brisk, the laughs are consistent, and the cast keeps the momentum going from beginning to end.

Nicole Barone brings a wonderfully natural quality to Emma. The character’s awkwardness never feels exaggerated, and the sincerity she brings to the role makes her the perfect foil for the larger-than-life personalities who suddenly invade her world. She also possesses a stunning voice that gives Emma’s quieter moments just as much weight as the production’s biggest numbers. 

Barone gets quite the opportunity to shine during “Unruly Heart,” as Emma records herself playing guitar and shares the song online in hopes of reaching others who have felt similarly pushed to the outside. McGee makes a particularly effective directorial choice by projecting Emma’s face above the stage, allowing us to simultaneously watch the teenager quietly recording alone and the video being broadcast to a much larger world. It’s a simple choice that beautifully captures one of the show’s central ideas: sometimes finding your community begins with having the courage to let yourself be seen.

Leading the Broadway personalities is Kelley Keats as Dee Dee Allen, who somehow makes a character defined largely by her own ego impossible not to root for. Keats plays Dee Dee with enough genuine conviction that her eventual growth feels earned, all while delivering powerhouse vocals that left me wishing the score gave her an even bigger eleven o’clock number.

Tedd Szeto similarly finds the humanity beneath Barry Glickman’s fabulous exterior. What begins as another self-absorbed Broadway personality gradually becomes one of Emma’s most important support systems, and Szeto balances that evolution beautifully without sacrificing any of Barry’s humor or flair. “Barry Is Going to Prom” is absolutely infectious, as Barry finally gets to experience something he was denied when he was younger. You could feel how genuinely happy the entire audience was for him, turning the number into one of the evening’s most joyful moments.

Carson Weddle, however, nearly walks away with the show as Trent Oliver. Weddle commits 210% to every second he’s onstage, whether dramatically leaping through the air, over-enunciating a line, or throwing himself completely into the absurdity of the character. Every choice seems to earn another roar of laughter from the audience. His performance of “Love Thy Neighbor” is pure camp, showcasing both Weddle’s talents and the energy of the ensemble while becoming one of the evening’s biggest highlights.

The Broadway contingent is wonderfully rounded out by Sarah Lynn Winter’s Angie and Alexis Madanick’s Shelley, while Benaiah Adesoji brings a welcome grounding presence as Principal Hawkins. His rendition of “We Look to You” is particularly lovely, performed with a sincerity that provides a quiet counterpoint to the eccentric personalities surrounding him.

Lindsay Walsh brings a Disney-princess quality to Alyssa Greene, the seemingly perfect cheerleader hiding a major part of herself from everyone around her, along with a beautiful voice that left me wanting to hear more. If anything, the musical itself doesn’t give Emma and Alyssa quite enough time together. Considering their relationship is the catalyst for everything that follows, a few additional moments allowing us to experience them simply being a couple could have made the central conflict land even harder.

For all of its silliness, The Prom isn’t afraid to let the mood shift when it needs to. Act One concludes on a surprisingly somber note that initially feels almost disproportionately heavy compared to the comedic romp surrounding it. Yet that contrast ultimately makes the moment hit harder, stripping away the jokes long enough to remind us exactly what’s at stake for Emma. Act Two returns with a slightly more adult edge, allowing the comedy to grow while the characters themselves begin to change.

Nearly a decade since The Prom first premiered, its message remains just as relevant. Beneath the Broadway jokes, extravagant personalities, and big production numbers is a simple argument for allowing people to be who they are and love who they love. What makes this production work is that it never allows that message to overwhelm the fun or lets the fun diminish the message.

Cary Players demonstrates the high caliber of community theatre being produced right here in the Triangle. The strength of the principal performances, energetic direction, and live musicianship make this an ambitious production filled with talent and heart while retaining the sense of community that makes local theatre so special.

Whether you’re a Broadway aficionado catching every theatre reference or simply looking for a good time, Cary Players’ The Prom has plenty to offer. It’s funny, heartfelt, occasionally outrageous, and filled with an infectious energy that makes its nearly three-hour runtime fly by. Most importantly, it’s a celebration of acceptance, community, and finding the people willing to stand beside you - and hopefully dance beside you, too.

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