By Jason and Alisha Hagey
Pioneer Theatre Company’s rollicking production of the musical comedy The Prom joyously erupts on the University of Utah campus. Four actors (two self-absorbed and two down-on-their-luck) band together to selfishly “help” an Indiana young woman whose prom was canceled because she wanted to bring her girlfriend. Mayhem ensues, transforms the lives of the actors and the community they infiltrate, and gives us, the audience, something to laugh about, think about, and something that will cause you to bubble up with sheer happiness.
In Edgewater, Indiana’s small, conservative town, Emma Nolan comes out of the closet saying she wants to take her anonymous girlfriend, Alyssa Greene (still in the closet), to the prom. Due to intolerance, the local PTA cancels the prom to prevent this. After they learn in the national media about Emma’s plight and seeking to revive their public image, Broadway actors Dee Dee Allen and Barry Glickman team up with their friends, struggling actors Trent Oliver and Angie Dickinson, to become celebrity activists bent on righting this terrible wrong. Emma wants no drama, but the flamboyant four thespians are all about drama. What could go wrong?
Based on an original concept by Jack Viertel, Chad Beguelin (Book and Lyrics), Bob Martin (Book), and Matthew Sklar (Music) team up to create a delightful romp full of thoughtful moments, exuberant music, and feel-good experiences. While filled with Broadway and pop culture references galore, the trio penned a love letter to the LGTBQ+ community and an outreach message to the heteronormative crowd. The beauty of their story is that it is about the inclusion and acceptance of all people, regardless of sexual orientation or gender identity. This is a play for everyone.
The whole performance is dazzling. Some scenes sizzle with “zazz” while others simmer with melancholy. Every minute is punctuated with unprecedented direction, and Karen Azenberg (Director and Choreographer) has outdone herself. Azenberg brings together a large, eclectic ensemble and creates theatrical magic. The production flows, actors interact in balanced stage pictures, and the world is vibrant and alive. Azenberg’s direction brings together this fantastic, engaging, and lovable reality.
Celeste Rose (Emma Nolan) is electric. As the core and soul of the show, the reason for the plot, Rose carries her role with extraordinary talent and vulnerability. Though surrounded by prominent personalities, Rose can command the stage and shines, especially when she sings. “Just Breathe” is engrossing, provoking, and funny. “Unruly Heart” pulls at the heartstrings. Rose is a gorgeous presence.
The intruding thespians light up the stage. Anne Tolpegin (Dee Dee Allen), Josh Adamson (Trent Oliver), Wendy Waring (Angie Dickinson), and Branch Woodman (Barry Glickman) explode with immense glee; it is impossible not to love every minute of them. Tolpegin exudes charisma as the Broadway star. Her luminous appearance, wonderful sense of comedic timing, and line delivery make her a joy to watch. Her outstanding voice overwhelms us when she sings, “The Lady’s Improving.” Adamson is entertaining as the struggling Julliard actor. At first, relegated to a supporting role in the thespian group, Adamson rises to new heights when he performs the showstopping “Love Thy Neighbor.” Waring’s savvy and flair are displayed when she mesmerizes with her “Zazz,” dancing and singing with panache.
Woodman captures the hearts of audience members, growing as a lovely, endearing character throughout the play’s runtime. He is, at turns, adorable and enthralling. Initially, it is hard to tell that Woodman would be a stand-out performance. He couples with the other thespians well, never upstaging. When he has intimate connections with Rose and winningly owns the stage in his “Barry is Going to Prom,” Woodman becomes a huge crowd favorite.
Mia Cherise Hall’s (Alyssa Greene) portrayal is sensitive and moving. When Hall sings her titular song, “Alyssa Greene,” we believe her. Not only that, we understand her. We feel her quaking frustrations and sorrows. As her school principal, Bernard Dodson (Mr. Hawkins) is expressive in his dynamic, loving nature. Dodson is relatable, a quintessential everyman. In many ways, he does well as the audience’s avatar onstage. Playing Alyssa’s mother, Erin Wilson (Mrs. Greene), is a formidable foil to everyone’s plans. She has the powerful strength to be sympathetic and frustrating, comprehensible and infuriating. Instead of being a villain in the story, she’s well-meaning and well-rounded. In short, Wilson is human.
A massive shoutout to the enormous, effervescent ensemble who support our main cast’s performances. They sparkle with energy. Their presence raises the level of excitement throughout the theatre. Azenberg thrills with her choreography, and the ensemble executes her vision with boundless ability. Phil Reno (Musical Director/Conductor) conjures symphonic sorcery. He is masterful in enlarging the moments through the skillful, experienced evocation of his orchestra’s instruments.
With all these brilliant performances, the design team must match them beat-for-beat. They genuinely rise to the occasion. Jo Winiarski (Scenic Designer) creates a changing set that exceptionally metamorphizes before our eyes and invents various spaces in an ever-evolving, location-hopping world. Accompanying her vision, David Neville (Lighting Designer) accentuates the scenes with brilliant colors and tones.
Speaking of color, Patrick Holt (Costume Designer) coordinates pigments of every hue across a landscape of characters, catching the rainbow in his costumes. The wardrobe is as exciting as the performances. In tandem, Samantha M. Wootten (Wig and Hair Designer) accentuates character through her noteworthy manipulation of coiffures.
The result of loving talent and buoyant exhibitions is a beautiful show that warms audiences with its affectionate embrace of every individual. This is a celebration of inclusion. Everyone deserves the opportunity to love and be loved – for who they are, not only for who we want them to be. While being a fun, spirited romp, The Prom is never glib about its subject, doesn’t trivialize the lives of those involved, nor seeks to make light of any sexual preference. Instead, The Prom asks if there is a chance for everyone to dance. Are we, as a society, willing to allow love to be love? Are we willing to allow every individual to be themselves, not somewhere between who they are and who others want them to be? The Prom doesn’t attack but asks us to consider these questions in the most boisterous, convivial, and affectionate ways. This show is a worthy ending to an incredible season at Pioneer Theatre Company.
A review by Front Row Reviewers. Pioneer Theatre Company presents The Prom. Book and Lyrics by Chad Beguelin, Book by Bob Martin, Music by Matthew Sklar, Based on an original concept by Jack Viertel
Simmons Pioneer Memorial Theatre, 300 S 1400 E, Salt Lake City, UT, 84112
May 12 – 27, 2023, Monday – Thursday 7:00 PM, Friday 7:30 PM, Saturday 2:00 PM and 7:30 PM
Tickets: $48 – $72 in advance; $5 more when purchased on the day of show
Students K – 12 or Ages 5-18 are half-price Monday – Thursday
Box Office: 801-581-6961
Open 10:00 AM – 6:00 PM, Mon. – Fri.
Pioneer Theatre Company
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