The Prom, Longacre Theatre, Friday August 9th 2019
"The Prom" was presented at the Longacre Theatre on Friday August 9th 2019."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.
"The Prom" is our favourite show on Broadway so far to today’s date Friday August 9th
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.
