THERE'S NO BUSINESS LIKE GETTING IN OTHER PEOPLE'S BUSINESS.
See the next hit from Broadway's Musical Comedy Dream Team - the geniuses behind The Book of Mormon, Aladdin, The Drowsy Chaperone, Elf, Mean Girls...must we go on?
What happens when four stars leave the bright lights of Broadway and take leading roles in a small-town controversy making national headlines? Big drama. Bigger laughs. And the biggest musical showstopper in years!
Starring Tony Award nominee Brooks Ashmanskas (Something Rotten!), Tony Award winner Beth Leavel (The Drowsy Chaperone) and two-time Tony Award nominee Christopher Sieber (Shrek) leading a cast of 27.
"COMIC GOLD! A LEGITIMATELY FUNNY CROWD-PLEASER THAT SENDS YOU OUT WITH A SMILE." - THE HOLLYWOOD REPORTER
"AS PURE A BROADWAY THRILL AS YOU CAN GET! THE PROM DESERVES THE CROWN! A JOYFUL NEW MUSICAL AND OUTRAGEOUS SHOWBIZ SATIRE THAT’S THE PERFECT BLEND OF SALT AND SWEET - ITS WIT, CRAFT AND HEART COUNT FOR A LOT." - THE OBSERVER
Casey Nicholaw directs and choreographs, with book by Bob Martin and Chad Beguelin, music by Matthew Sklar, and lyrics by Chad Beguelin.
The legitimately funny book is co-written by Bob Martin, who won a Tony Award (as did Leavel) for his work in the same capacity on The Drowsy Chaperone; and Chad Beguelin, who penned Disney's Aladdin, another Nicholaw musical. The two-pronged score, which has distinct styles for the Hoosier teens and the Manhattanite interlopers, is by composer Matthew Sklar, with clever lyrics by Beguelin; the two last teamed on yet another Nicholaw show, Elf. Any musical that makes it to Broadway these days without a familiar movie source or a popular jukebox score is an achievement, so this original story is a rainbow unicorn that wins points right there.
Though it teases Broadway, The Prom has the appealing scrappiness of a party thrown by the theater community for itself, and nowhere is this celebration more joyous than in the deliciously hammy performances of its two seasoned stars, who take over-the-top to dizzying heights. The hilarious Ashmanskas never seems more than a hop, skip and jump away from actually hopping, skipping and jumping, and Leavel churns her big number, a pastiche called 'The Lady's Improving,' into pure showtune butter. It's not the show: It's them. They're lovable.
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