Review: THE PROM at Berkeley Playhouse

THE PROM at Berkeley Playhouse sparkles with energy, sequins, and high-octane choreography. With its message of inclusivity and tolerance, the show highlights the continued struggles of LBGTQ+ youth. Come for the dancing, and stay for the story. And just like in high school, THE PROM is a night you won’t forget.

THE PROM follows the story of Emma Nolan whose high school PTA shuts down their prom when it learns that Emma’s date is a girl. The situation escalates rapidly when a group of Broadway bigwigs arrive in town to play messiah after being crucified in their latest NYT reviews. When their efforts fail, they must examine their motivations, and Emma must find the courage to forge her own path.

In a show that leans into stereotypes, the cast of THE PROM both shows us why those stereotypes exist and how each character is an individual that is more than the label society puts on them. Arri Toshiko Glenn as Emma Nolan sets a high bar with her high notes. Actually, it’s her belt that is so impressive with its clarity of tone and power. She has a sweetness about her that lends itself to playing a high school teen. Her only weakness seems to be a tightness or stiffness in her shoulders that prevents a fluidity in her movement and from being as grounded in her feet. The girlfriend, Alyssa Greene, is played by Aleshani Altan who is adorable with prodigious pipes of her own. She gives a touching performance that is only diminished by the rather frequent blocking of her eyes by her hair when in profile. Taylor Bartolucci as Dee Dee Allen brings her considerable talents front and center, showing when to go big, and when to blend. DC Scarpelli’s Barry Glickman is an instant crowd pleaser. He manages to bring humor to tense moments without making light of the very real issues. His pouts and prances make him fun to watch. Mary Kalita likely identifies with her character Angie Dickenson as she spends much of the show just to the side of center stage and adjacent to the center of attention. Her number Zazz leaves you wanting more. Similarly Jaron Vesely as Trent Oliver gives us a taste of his talents in Love Thy Neighbor that packs more punch than the Act I finale. Jon-David Randle as Mr. Hawkins provided an extra layer of humor and charm despite his faulty mic. 

With such a large cast and ensemble, it is important to note how much they added to the show, especially the large dance numbers that continually evoked roars from the crowd. Once again Nico Jaochico is leading the pack putting on a clinic of how to bring energy and intention to the ensemble. Additionally, Shelly McDowell and Kristina Jewett make the most of their parts and make a big impact whenever on stage. And I can’t fail to mention the great work from the live orchestra whose eight members produced a sound larger, richer, and fuller than their numbers would indicate.

The artistic team of THE PROM performs double duty by almost disappearing in poignant moments when the emotion is front and center and then amping things up and enhancing the big scenes, taking them to the next level. This duality is best represented in the lighting design by Amy Abad. The costume design by Andrea Gorham ranges from goth to glam and preppy to posh. She creates a community of people with individual looks while blending all of their looks into a cohesive design. The real power behind the show comes from the co-director/co-choreographer duo of Christina Lazo and Megan McGrath. From pacing to blocking to use of space and sets, team Lazo and McGrath nails it. Then they raise the bar by including fast and furious choreography just on the edge of frenzy that pumps volumes of energy into the show. No doubt that cast will leave this show well conditioned. The choreography also keeps the show modern, youthful, and relevant, and it’s obvious how much the cast enjoys hitting it hard. It is a great opportunity for the teen ensemble to elevate their work and continue to grow as performers, but it also means that there are some obvious levels and the choreography is just past the edge of the capabilities of a few to pull off cleanly. Hopefully as the run continues they will continue to polish those bits and find the groove with the more experienced dancers.

Ultimately, THE PROM is a fun show with an important message. THE PROM, book and lyrics by Chad Beguelin, Book by Bob Martin, and music by Matthew Sklar made its Broadway debut in 2018, but was originally written in 2010. And while we hope there has been progress on inclusion, it is obvious that the show and its message are still needed. With humor and heart, and few downright “wow” moments, THE PROM is a good time that will leave you with a smile.

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