The Prom, Longacre Theatre, Friday August 9th 2019

The Prom, Longacre Theatre, Friday August 9th 2019

"The Prom" was presented at the Longacre Theatre on Friday August 9th 2019.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

"The Prom" is an original musical with a Book by Bob Martin and Chad Beguelin and we saw it at the Longacre Theatre on Friday August 9th 2019.  Their book is tight, dense and rich.  It is full of love and hope; and so funny at times you want to cry at the depth of humanity on display.

Music by Matthew Sklar and Lyrics by Chad Beguelin is so beautiful and memorable. Each song captures a different mood and atmosphere without being didactic or patronising.  The cast sing the lyrics with such passion and dedication to this fine pair of composer and lyricist.

I write my diary and reviews for my memories.

We picked up our tickets at the Longacre Theatre on 48th St, opposite where “Hadestown” is playing.

"The Prom" is our favourite show on Broadway so far to today’s date Friday August 9^th 2019.  Wow, it is so uplifting and the audience were in party mode from the moment they arrived at the theatre.

It was a very powerful piece of musical theatre for so many people.

it was so emotional at times that I had tears streaming down my face, as did Paul, as did many audience members.

This show would do well in Australia as it is the underdog comes through theme. It is so uplifting with lots of twists and turns in the emotional journey.

More of  my review is to follow as I wrote so many notes, I cannot keep up.

Before the show we went to the loo in the lower level with a spacious foyer. Then we climbed I think about six sets of stairs to the top where the Balcony is located. There is a lift available, but we like the exercise and it gives us an opportunity to view the theatre from different perspectives.

At Balcony level the foyer/lobby is spacious and uncrowded.  A photo booth/background screen was located in the lounge area at Balcony level. Toilets for both men and women are also located at this level, though they are not as extensive as in the lower level. There is more than the one stall at the Longacre Theatre compared to the Walter Kerr Theatre's single closet at Balcony level.

I experienced probably one of the most moving sights that I have seen prior to a show that really set the scene for "The Prom" occurred before we took our seats. This event gave context to why so many young women and lesbians and gay men were dressed up. This event raised so many emotions and so many memories of my own teenage angst that my heart leapt.

A young lady with mauve streaks through her hair walked past us in the lounge area on Balcony level. She hesitated as she was about to take a “selfie” at “The Prom” photo booth. I saw her eyes dart to the left and she paused, then moved quickly to her left and sat down, she then hunched over slightly. I espied this from the corner of my eye, without making it too obvious I had witnessed a teenage angst moment.

I smiled across and asked “would you like a photo?” Her eyes lit up. She searched and found reassurance and acceptance. She stepped forward and gave me her phone to take a photo. I encouraged her to be herself. I talked to her as I took many photos, and explained that “I would take lots of photos so that you can choose the best one.”

She loosened up and relaxed. She began to feel pumped as her posture began to demand more space. She was growing inside with courage, or confidence. I encouraged her to make a fun pose now. My heart leapt and I had to control my tears not gratitude. It was like a daughter I never had, watching her blossom. I will never forget those moments as it was a great prologue to a sensationally moving and uplifting show.

The show was amazingly funny, poignant and full of love and hope. There are so many themes about respect, prejudice, diversity, bullying the list goes on.

Casey Nicholas, who also directed “Aladdin” and “The Book of Mormon” etc, has created a brilliant work that will be turned into a film.

Congratulations on giving so much hope to so many people.

We met two guys from Boston, and Courtney from Georgia sitting next to us in the front row in the Gods - the Balcony.  The theatre was in party mode and this was an event.

The show began about 8.09pm. I have not heard so much cheering and screaming of encouragement at a show for years. "The cheering equated to what we had witnessed  at the “Hadestown” curtain calls last Wednesday August 7th.   And the show had just started!  Many of the audience had returned multiple times. As this was the final weekend it was going to be a very special event.

Melbourne deserves this show. This show will be popular for schools for their drama programme, but also to teach social studies with themes of tolerance, bullying and diversity management.

The opening number is after an opening of a Broadway show. I watched the audience as well and they were spellbound and mesmerised by the performers. There was not a weak in the cast.

The jokes came quick and fast and the audience responded with enthusiastic laughter and cheering. Every entrance by the cast was a red carpet event with the screaming audience in adoration and respect for the performer's.

The book quickly introduced the set up of the show with the actors awaiting the reviews of their show. The acceptance and rejection theme set the scene for the show’s journey.

The joke about Tina Louise (Ginger from "GIlligan’s Island") appearing in “Chicago” was fabulous and established itself as a setup for followup jokes.

When the actors were trying to determine which cause to support, they went through a list of options. The “Electoral College should be abolished” received ear shattering screams, cheering and thunderous applause.

We were introduced to the concept of dual scenes and dual locations. The set comprised of vertical tabs that rotated. So when there was a dual scene sometimes the tabs would be showing one location of trees, while another may show a different location of the school hall.

The back screen changed via rotating screens with different visuals on each side. Maybe the screens are triangular to allow for three different scene changes.

This is such a snappy show that runs at a pace keeping energy levels high and our attention.

The four actors perform a number that reminds me of mama Rose from “Gypsy” where she talks about her next routine, or “”Let’s put on a show” Judy Garland and MickeyRooney style.

We are introduced to our leading lady, Emma played brilliantly by Caitlin Kinnunnen, who performs “Just Breath” in a spotlit solo. The tension and drama of the show is set as she wants to take her girlfriend to her school Prom.

The set flies in with lockers and the doors to the school gymnasium. Bunting flies from the rafters announcing the school logo.

The school gymnasium scene has stadium seating that reminds me of “Sitting Watching Jason (Play Baseball)" song "from “Falsettos”. The four actors appear bearing placards protesting for Emma’s right to take her girlfriend to the Prom.

The scene change to the location of the prom. There are two round tables upstage and four side tabs. Moon shaped balloons hang with four small round balloons underneath. The shape is very phallic. Six large spotlights focus on the dancing that becomes very acrobatic.

Emma enters

The entrance of Dee Dee Allen played superbly by Beth Leavel received megastar applause as she sporting a leopard patterned jumpsuit. The choreography pays tribute to both “Hernando’s Hideaway” from “The Pajama Game” and “West SideStory” with the clapping and posturing.

There were so many shows referenced in the brilliantly funny choreography by CaseyNickolaw: “Beauty and the Beast” and “Evita”. They performed a whole sequence that was a variation of the “Buenos Aires”.

We are introduced to the school principal, Mr Tom Hawkins played by Michael Genet. He acted well and though singing flat at times, it did not bother me as he gave a sustained and honest performance with great rapport with Dee Dee Ellen.

The second major tension was introduced. The joke about straight people liking Broadway and Dee Dee’s vomiting reaction was priceless.

Emma confronts the Principal, determined to resolve her own problem. She is more powerful in her self determination than the Ann Darrow character from “King Kong”. She epitomises the quiet achiever and underdog.

The booking into a the motel with the receptionist scene was hilarious, with one joke after another building the humour, but also emphasising the tragedy and desperation of these actors on their mission of self interest disguised as a cause for Emma. One trophy presented looked like a phallic object. When the receptionist recognises the “Talk to the hand” actor, they receive better service.

The changed with a swift lighting change where two large banks of lighting lowered from the flies. These lights shone brightly blinding the audience and was a great segue to the “Monster car rally” sign upstage. Again this scene built up the levels of desperation of these actors.

The “Monster car rally” sign peels away to reveal a poster of Emma. She is their scapegoat - their cause - their pretense to develop their own careers. The floor lights changed to green, and the cast of the touring production of “Godspell” arrive in their tasteless and gaudy 1970’s costumes. The house lights rise a few times as if we are at a revivalist meeting. The audience are again cheering. Wow this show is so much more fun than “Muriel’s Wedding The Musical”.   In fact, it is what “Muriel’s Wedding The Musical” should have been fun but with the underlying drama and tragedy.

There is a short chorus of performed in sign language. This version of the chorus is performed with patronising-head-tilting-smiles emphasising how minority groups can be excluded. It is very pointed and cutting in its humour. They are building the tension of how Emma is excluded in society.

The banner at the rally turns so into a rainbow flag.

Emma confronts the actors announcing “you really scared people”. She is not a wimp, but a lesbian who wants acceptance.

There is a great joke about what Emma should wear to the prom. Should she shop at Saks, Kmart etc?

The tension builds more to reveal more of Emma’s story of how she does not live with her mother. The audience are on the edges of their seats recognising how easy it is for a gay child to be turned from their home. (This is an example of what I wrote about in viewing the short video “Paris is burning” from “The Stonewall 50” exhibition at the New York Historical Society where they explain the house party scene for homeless gay children and teenagers in New York in the 1980s.). We had tears well up in our eyes at Emma’s plight, her courage and her resilience.

Another level is revealed that Barry Glickman, played brilliantly by Brooks Ashmanskas reveals he never got to wear his silver tuxedo to his prom. Emma is not alone in not having her dream prom. The prom is a milestone event in the American culture. Barry becomes a father figure, a protector and a mentor to Emma.

There is another dance number where the heterosexuals are inviting each other to the prom. There are variations on how each couple invites their respective partner. One guy brings out a placard. The dance scene has remnants of “The gym dances” (act one, scene four) from “West SideStory” which showed the racial divide, while here it shows the exclusion of the LGBT community.

The choreography here is fun, feet right, left, pointing right and left, hips swaying right and left etc. At times it reminded me of “Banana Boogie” from ‘The Fabulous Flintstones On Parade” (“YABBA DABBA DOO” in USA). This was the first time I noticed a lack of synchronisation, but only for a short eight bars of music.

Large silver balloons appear in the shape of the word “PROMS”.

The scene flies out to truck in the Applebee’s diner scene with three booths. This is where the Principal, Mr Tom Hawkins and Dee Dee Allen meet and flirt. The principal confronts a mother objecting to Emma attending the prom with her girlfriend. The audience are on tenterhooks and respond with lots of “oohs” as the scene cuts the air with a blade.

There are lines about making the world a better place and looking for a scapegoat. The “tell me about you” line receives hoots and howls of recognition from the audience. The atmosphere is counter pointed with the atmosphere of a waitresses working, students studying and teenagers dating.

The principal sings and is a bit flat. I do not really care as it shows his humanity and his acting is so compassionate and truthful for his care of his student’s welfare. The scene reminded me of the Herbie and Rose in the Chinese restaurant from “Gypsy”.

The Applebee’s booths truck off stage left, while Emma’s bedroom trucks forward from upstage. She sits on her bed with a guitar. I have tears rolling down my face when Emma announces “I have never been to her (girlfriend’s) house”. There is so much pain and reality in this show.

We are taken on an emotional roller coaster. The audience are dead silent with respect, recognition and hope. Emma has the audience in the palm of her hands. This is a sensational scene of inspiration and influence. I feel so uplifted that my heart pounds and pumps.

There is a “Kath and Kim” moment and a “Hairspray” bedroom moment. There are references everywhere. There is the “night belongs to you” and “Glinda” joke (referencing “Wicked”.). This is a powerful duo.

The bed trucks forward and the scene changes with the tabs turning to reveal trees reminiscent of Roger Kirk’s “A Little Night Music”.

The obligatory mother and daughter confrontation scene that was similar to a scene from “Legally Blonde”.

The scene changes to the prom with two round tables upstage and decorations. Moon shaped balls hang from the ceiling. They are very phallic as they have four round balloons underneath. Six large round circles spotlight the twelve dancers that builds into an acrobatic number, reminiscent of “Bring It On: The Musical”, but not quite as athletic and lacking the cheer-leading throwing and catching.

Lighting change to reveal the entrance to the ball where Emma is presented with a corsage by Barry. Emma asks Barry “will you walk me in?” His chest proudly rises as he is to be the surrogate father presenting his daughter for her debut.

Refresh scene from prom angle to see Barry walk Emma into the prom, to find a deserted venue. The mirror balls fly in last - pathetic and cutting - emphasising the tragic circumstances.

Scene change to where the mother escorts in her daughter, Alyssa played with restraint and composure by IsabelleMccalla.

The principal confronts Eleanor (Dee Dee Ellen) for using Emma to enhance their acting careers.

Emma sings a solo.

The stage splits into two scenes, with the tabs showing different venues. The two scenes juxtapose the action of two separate dances. It is revealed this is a different venue. As an audience member your heart sinks, and it is a great cliff hanger for the end of act one.

Interval:

It is 8.18 pm. On the balcony level the audience experience both in the theatre and in the foyer is very civilised and is much calmer than other theatres on Broadway.

I realised that this very young audience is so respectful with having their phones off during the show. More so, than I had seen with young audiences.

Whilst in the foyer, I saw a fashion statement that was very smart, a black man wearing all black t-shirt, jeans and boots. Over the top he wore a half black pleated kilt with black belt. The kilt draped from his centre front around his right hip to the centre of his back. Very chic.

ACT TWO:

Act Two begins at about 9.36 to thunderous cheering. I think the show is running overtime due to the audience’s enthusiasm.

The entr'acte music began and the audience were dancing in their seats. I suspected they were all doing the choreography from a dance number that would appear in act two. Yes, they were, I later realised.

There is a press conference where the PTA announces to the press their feelings about the events. “Go Cats” sign is in the background. (Quite appropriate for AFL Geelong supporters!)

The mother says “I love my students as much as my daughter”. OUCH! The audience is burnt and hurt, and they react accordingly lurching in their seats.

Screen flies out to reveal Emma’s bedroom. The actor’s enter and Emma has analysed the situation and cuts through to announce “No one is talking about the hate”.

Emma realises that “this is about more than the prom”. She is a quiet leader. There is an “I Dream Of Jeannie” blink joke. She rejects the actors’ idea and chooses to rectify things her way. She is independent and no wimp, she is no theatrical, but a quiet influential leader. She is the power warrior woman (unlike the "King Kong" assertion of Ann Darrow being such!)

Emma’s line is so moving when she announces “Rid the cancer of intolerance.” This is magical and palpable theatre.

“Understanding may lead to love”.

Angie played brilliantly by Angie Schworer motivates Emma. Angie looks like a young Patti Newton. There are great laughs about finding your inner strength, age jokes and “Chicago”. The dance number “Zazz” is fabulous as Angie rolls over the bed into the splits and other theatrical poses, which is similar to SuttonFoster performing “Show Off” from “The Drowsy Chaperone”.

There are lot of references to Bob Fosse and finding your inner strength and jazz hands. There is “A Chorus Line” four to eight bars of music dance break reference. There is finding your “pizzazz” and references “You’ve Gotta Have a Gimmick” from “Gypsy” both choreographically but emotionally.

Scene change from Emma’s bedroom to the Principal’s office.

Dee Dee Ellen (Eleanor) enters wearing her red and gold jumpsuit. Was it her costume from the show that the Principal was a fan of? She is rejected by the Principal “You are an opportunist!” He is disappointed in meeting the actress he thought he worshipped.

She re-enters with a dramatic slamming of the door, in a a more seductive outfit and pose. She tries to seduce Mr Tom Hawkins with her Delores characterisation. It pays homage to Bob Fosse and Gwen Vernon scene from the television series. It also references “Damn Yankees” scene.

There is thunderous applause, screaming and cheering that was a stop ovation for about one minute.

This show HAS just got to come to Melbourne!

The Principal teaches Dee Dee Ellen about “putting other’s first”. It is very funny but also biting. “Let’s learn how to be a good human being!”

Scene change as the Principal’s office reverses upstage and the “24Mart” flies in. There is a cyclone wire fence each side of the store to give context to the location.

Trent Oliver played superbly by Christopher Siebel reveals the inner prejudices of the twelve students. The “Love Thy Neighbour” number has lots of hand clapping and pays homage to “Sit Down You’re Rockin’ the Boat” from “Guys and Dolls”. It is the closest emotionally and theatrically I have seen to this iconic number.

Trent Oliver confronts each student with different examples about religion, sex, tattoos, masturbation etc. He is highlighting their hypocrisies. He is a natural teacher but does not realise it.

This is one of the best dance numbers in the show as it is so uplifting and positive. They repeat at a faster pace to build momentum, chanting and clapping to thunderous applause.

“Go Cats” flies back in. Two girls confront Emma for spoiling their prom. Emma compares and references “Carrie: The Musical” (which originally closed quickly on Broadway to become a cult show). She is relieved not to have pigs blood on her.

Alyssa sings her solo about her life and her mother’s expectations. It reveals more tension with Alyssa’s back story of guilt and being lesser in her mother’s eyes.

Emma announces that she is going public. And Alyssa realises that Emma is breaking up with her as the prom is bigger than just two girls. More building of tension. (Though, we know they will get back together.)

The scene changes back to the interior of the motel room with the actors. Dee Dee Ellen (Eleanor) has sold her soul to organise television coverage. The actors are learning about generosity and selflessness.

Emma enters and announces “I’m doing it my own way” which means not having television cameras. Now remember, Dee Dee Ellen sold her soul to get assistance and the television coverage. Her reaction to Emma’s announcement is priceless, as she is carried off the stage by the other actors. The audience is hysterical.

Tears well up in my eyes in response to Emma telling Barry “I want you to be my date”.   This show is so generous and uplifting for the human soul.

The audience oohs and aah’s as it is a very moving scene. It is an emotional scene.  We are let off the hook with a relieving joke to break the tension.

His theatrical song and dance reveals his inner self and being able to wear his silver tuxedo, and have the prom that he never had. His dance break pays homage to a male solo "The Right Girl" from “Follies”.  Barry does a bed roll similar to Angie’s earlier bedroll.

The scene changes to Emma’s bedroom where she is composing a song to put on the internet. (I am reliving the show as I type, and the emotions well up inside me again). She writes her song to tell her story. It is like me writing my diary and sharing it on Facebook, and revealing myself.

Silence. You could hear a pin drop. Dead silence. The audience is so respectful and attentive. We are spell bound.

Emma’s song is a love song and full of hope. Caitlin Kinnunen as Emmas is commanding and has incredibly clear diction. In fact the whole cast have great diction.

Dual scene as Emma sits on her bed, we see young people entering making comments about having seen her video on the internet. More youth enter saying they have seen her story. Is a bit like “Dear Evan Hansen” here.

The set design is simple as the bedroom revolves around to become the Principal’s office.

There is no money to stage another prom. The actors offer their credit cards. Dee Dee Ellen holds back and it adds to the tension, but builds in the humour. Dee Dee Ellen’s voice changes as she offers her Amex card. The drop in her tone receives another incredible round of applause and cheering.

Scene change as the Principals office trucks out, and the “Go Cats”flies in.

The lessons have been learnt by the actors - to be generous to others and selfless.

Scene change: doors fly in, and tabs rotate.

Half the side tabs gradually change to the the brown gymnasium, while the other half reveal outside and the woods. It is a dual scene: the gymnasium and the woods.

The PTA and students enter into the gymnasium wanting a confrontation. There is a great line about “There is nothing that flying monkeys can do”. This references “TheWizard of Oz”, “Wicked” and also has a dig at “King Kong”.

I think it was Trent Oliver that says “Ask them what they want.”

A student announces that the “Talk to the hands” (actor/Trent Oliver) has taught them about about tolerance. He requests “Be our drama teacher.” Trent Oliver is dumb struck and never considered teaching could be his real calling in life.

Alyssa’s mother arrives. Alyssa tells her mother “Stop talking mom. I love you Emma Nolan.”

Thunderous cheering and applause erupts from the audience.

Trent Oliver commands with his “Class settle down” in his newly found assertive, deep and sexy teacher tone.  The audience is hysterical.

I have tears streaming down my face when Alyssa and Emma sing :I just want to dance with you”.

The scene changes to the 24Mart.

Principal and Dee Dee sing also “I just want to dance with you.”

Scene change to build the new prom with silver balloons and tinsel doorway that reminded me of  “Chicago” or “Priscilla Queen of the Desert”.

The silver bunting rises to announce this prom is ready to begin.

The two girls enter to thunderous applause.

There is a quiet prom dance for the two girls that is poignant and heartfelt. The party dance begins and the the disco mirror balls lights up. Barry enters in his silver tuxedo to thunderous applause and cheers.

We finish with a kiss by the girls and a sensationally uplifting finale for curtain calls and dancing.

Oh yes - the audience jumped screaming from their seats.

It could have been a little shorter, but where would you cull it?

Melbourne you have to have this show. THIS VERSION of “TheProm” before the non-professionals do their less produced versions.

We both loved it and both gave it 8.5/10.

POST SHOW:

Afterwards we walked via Broadway to the 50th St Applebee's next to the 50th St station. We chatted quickly to the waitress who ushered us to our booth. She said “TheProm” cast have booked upstairs on Sunday after their final show.

Sadly we did not get served after ten. We had taken a photo of the menu with “TheProm” programme, as Applebee's is a location in “TheProm”. We left a $1.00 tip as we took a photo and left to catch our train outside the front door.