The Prom
Musical About Sexual Discrimination in High School
By: Victor Cordell - Sep 10, 2024
Before getting to the bulk of my review that actually requires time, thought, and other effort, let me start by saying that the Berkeley Playhouse production of The Prom is scintillating, heartfelt, and ultimately uplifting. That in itself is a bit of a spoiler, but probably most people who will attend this wonderful musical have advance knowledge of the story and go because of thematic interest or its widespread reputation.
Some shows seem to connect with cast and creatives in such a way that their inspiration drives them to heights, and this appears to be such a case, as the show hits on all cylinders. There are an incredible number of moving parts, and Co-Directors Christina Lazo and Megan McGrath assemble them with great skill. And granted that the opening night audience was stocked with friends, family, and other partisans, but even allowing for the anticipated positive bias, the whole crowd went wild for The Prom.
What disturbs about the plotline is that other than shifting the venue from the real Fulton, Mississippi to the fictional Edgewater, Indiana and some other choices made for dramatic effect, the essence is a true story. In the musical version, a couple of Broadway performers suffer the closure of their show after opening night. Their manager notes that the reason for the failure is that they are unlikeable, because they are such narcissists. Although they argue that narcissism is ubiquitous among entertainers, they decide to try to do something highly visible that will portray them in a less self-indulgent light.
Culling through various options, the actors learn about a girl in Indiana whose high school cancels its prom because the espoused lesbian student plans to attend with another girl as her date. Along with their manager (played by Billy Raphael) and two other acting colleagues (played by Mary Kalita and Jaron Vesely), the Broadway denizens descend upon the conservative Indiana town to save the day for Emma, the victim of the discrimination. Their objective is nicely articulated in the song “It’s Not About Me” which also reveals that the well-intended interlopers are bumptious and clueless.
The magnetism of the two actors as Broadway performers drives the show. As Dee Dee Allen, Taylor Bartolucci captures every bit of the character’s glamor and adulation-seeking self-absorption. Every time she considers doing something generous, she pulls back as a hand from a flame. Bartolucci has the goods with her self-centered, well-acted comedy. Plus, she can sing a tune or two.
The Barry Glickman character fits East Bay theater stalwart DC Scarpelli like a glove. Perhaps it’s my imagination, but he seems to blossom with the liberation of flashy dressing and playing a flamboyant gay role. Unlike Dee Dee, he conveys a warmth and connection and becomes a bit of a big-brother figure to Emma, who is well-portrayed and beautifully sung by Arri Toshiko Glenn.
Any narrative demands conflict and resolution, and the PTA provides the focal point of resistance to the beau geste. What is truly sad is the extent of ignorance and hate that many people have for others who are not like them. In this case, the meanness and subterfuge used to beat down innocents for simply being themselves is mortifying.
Despite the clashes, The Prom manages to be joyous. The pop music is peppy throughout but can be quite moving as in the engrossing “Unruly Heart” with the focal message ‘I’m who I am, And I think that’s worth fighting for.’ The plentiful foot-stomping dance co-choreographed by the co-directors doing double-duty energizes the audience. The two directors are quite a team. Finally, all of the creative elements, including set design (Sarah Phykitt), lighting (Amy Abad), sound (Joshua Price), and costumery (Andrea Gorham) integrate successfully. Music Director Daniel Alley and the orchestra deserve a nod as well.
The narrative also has depth, as it deals with life’s issues. It touches on themes about growing up and about being different. It especially addresses conformity and bullying. Agency is also a concern. At what point should parents stop forcing values on children and let them stand morally on their own? Ultimately, it condemns bigotry and reminds putative followers of Christ who dominate the community in question of his embrace of The Golden Rule.
The Prom with book by Chad Beguelin & Bob Martin, music by Matthew Sklar, and lyrics by Chad Beguelin is produced by Berkeley Playhouse and plays at the Julia Morgan Theater, 2640 College Ave., Berkeley, CA through October 13, 2024.