The Prom is Soul Food for your inner child.
This review is of a Youth Production by a pre-professional company. My critiques are framed in the context of these performers being artists in progress.
If you’re a queer Zillenial who was a little disappointed by the movie version of Mean Girls: The Musical, then The Prom is the lighthearted, campy, tongue-in-cheek show for you. Dripping with satirical references to every show I’ve loved, and jam-packed with highlight moments from the rising stars of the Youth Performance Company, The Prom is a treat for any theatre lover in Halifax, not just ones who will cackle when a teenage girl pulls out a ukulele.
The Prom follows four broadway actors at various low stages in their careers who attempt to thrust themselves back into the good graces of the public. They come to the defence of a lesbian child who has been caught up in a scandal after she attempts to take her girlfriend to her senior prom. After several disastrous attempts, the group has to face their own egos and consider what it really means to make a difference to young Emma, and to the world.
For context, Neptunes Youth Performance Company (YPCo) is a pre-professional theatre program of young adult performers, working alongside professional artists to present a work. The Prom is an exciting choice for the YPCo, presenting the classic youth theatre challenge of having teens of similar ages play both 17 year-olds, and adults in their 30’s and 40’s. Director Gina Thornhill accepts this challenge with grace, and guides the actors playing adult characters into unique physicalities, mannerisms, and embodied performances that land them solidly into adulthood.
the real heart of this play is in the relationship of Emma, an out lesbian, and her relationship with her closeted girlfriend, Alyssa
Lousia Morris stuns as the diva DeeDee Allen, her commanding energy grabbing the stage any time she opens her mouth. Her skill and thought are clear and excellent, but at times, I can feel some of Morris’s natural energy wanting to shine, and I’m curious to see a version of this character with a little more of herself peppered in. Tennessee Toombs is also a delight to watch as the Juilliard Trained Trent; he balances his character's pretentious lines with a comedic and overplayed physicality, and his playful energy take numbers like “The Acceptance Song” and “Love Thy Neighbor” from cringey to genuinely funny.
While the egotistic actors poke fun at theatre, fame, and rural American culture, the real heart of this play is in the relationship of Emma (Kaitlyn McQuillan), an out lesbian, and her relationship with her closeted girlfriend, Alyssa (Solène Gadbois). As soon as McQuillan opens her mouth to sing "Just Breathe," I find myself moved by her earnestness and pain.
Throughout the second act however, I find myself most drawn to Alyssa and her clear pain as she feels more and more pressured to come out and stand with Emma. This script does not just highlight Emma’s struggle, it shines light on kids like Alyssa, who exists in multitudes in rural America.
I’m delighted by how she made to wish for more of this woman who is the face of homophobia in this show.
Other highlight performances: Alex Macdonald as Mr. Hawkins, the school principal, and Kalan McKay as Barry, one of the actors. Macdonald as Hawkins is so sweet in numbers like “We Look to You,” but showcases an incredible comedic side in “The Lady's Improving.” Barry is a character that is slow to grow on me, but McKay is utterly charming, and draws me in with the tender side he brings out of Barry throughout both acts. These performers slip slightly out of my attention in the early group numbers, but capture my heart when they get their chance to shine.
And, every actor does have their shining moment. Samira George has me in stitches with her delightful dancing as Angie in "Zazz," Ella Murphy’s solo in “Tonight Belongs to You” is jaw-dropping, and I’m delighted by how she made to wish for more of this woman who is the face of homophobia in this show. Every moment is someone's moment on this stage.
Shows like this remind me of how much the world has changed since I was in high school. It seems like all the cool kids are in theatre now, and making the world a better, and gayer place.
The professional team behind this show has put together a piece where every member of the company has me grinning, cackling, or crying once or twice. Liliona Quarmyne’s choreography is tight and snappy, but still accessible, and performed well by even the new dancers in the cast, holding the musical numbers together and keeping the overall energy of the show joyous, the lights by Alison Crosby draw me to each ensemble member through the group song and dance numbers.
The music balances the developing voices of the company well with the demands of the show, and Geordie Brown’s direction has brought this ensemble of voices to incredible heights. Thomas Hiseler has balanced simple, effective sets with the fanciest Applebee’s I’ve seen, and Katherine Penner’s costumes are like looking back on the pictures of the actual junior prom I attended, a delightful mix of shiny short skirts, cocktail gowns, vintage gowns and even a tuxedo t-shirt.
As Barry sings “I feel like I'm in a time machine,” I look back on the theatre I wanted to make as a teen and see it come to life grander than I ever could have imagined. Shows like this remind me of how much the world has changed since I was in high school. It seems like all the cool kids are in theatre now, and making the world a better and gayer place.
I try not to get too personal in my reviews, but I feel I owe it to these kids: a heartfelt congratulations to this powerful cast and the delightful creators who have helped build this show. As a queer kid from a small town in Tennessee, I saw my young, scared self on stage tonight, and she wasn’t alone. Thank you.
The Prom runs April 16-28th on Neptune’s Scotiabank stage. Get tickets at www.neptunetheatre.com/box-office/the-prom.
