REVIEW by Anthony Chase
I wondered while watching the opening night performance of The Prom at MusicalFare, if anybody else could possibly be having as much fun as I was. My memory of the Broadway production enriched my appreciation for this more intimate rendering, and populating the world of The Prom with actors whose work I know well added a special joy.
Large Broadway musicals often land with even more emotional impact on the intimate stages of Buffalo's small professional theaters. One of the best examples was A Man of No Importance at Irish Classical Theatre Company several years ago. I think The Prom benefits from feeling somewhat small-town and homemade as they take us on an unlikely trip to small-town Indiana.
Indeed, the team of director Doug Weyand and choreographer Michael Oliver-Walline has delivered a fast and sparkling production, every bit as moving as the original, but with the benefit of greater intimacy. And frankly, these local actors are absolutely of Broadway quality.
The Prom tells the story of four Broadway actors who, in an attempt to revive their careers and reputations, travel to a conservative Indiana town to support Emma, a high school student banned from bringing her girlfriend to the prom. As they navigate small-town politics and their own prejudices, both the Broadway stars and the townspeople learn valuable lessons about acceptance, love, and the power of community.
Louis Colaiacovo is particularly appealing as Barry, the GAY Broadway star. His Barry is a delightful man-child, brimming with innocent exuberance that is irresistibly lovable, even in its occasionally sociopathic cluelessness. There's a purity to this performance that perfectly captures Barry's unfiltered joy for both life and theater, whether he's belting out a showstopper or reacting with appalled amazement at the realities of small-town life. His portrayal balances the character's larger-than-life persona with moments of totally manipulative vulnerability, allowing the audience to see the heart beneath the glitter, and the glitter beneath the heart. Did I mention that the character is GAY?
Jenn Stafford wields impeccable comic timing and delivers even the most outlandish lines with unwavering conviction as the gloriously self-absorbed diva, Dee Dee. She creates a tornado of ego and showmanship, nailing every punchline while subtly revealing the insecurities beneath the sparkle. Stafford's performance makes Dee Dee's reluctant journey towards empathy both achingly funny and unexpectedly sweet. Her chemistry with Colaiacovo is especially winning, as they embody the spirit of musical theater itself - heartfelt, extravagant, and imbued with the kind of premeditated sincerity that makes you want to burst out in song at life’s most emotionally charged moments.
Dee Dee’s only vulnerability is her need for constant adoration – a flaw that is unwittingly punctured by Jake Hayes as Mr. Hawkins, the school principal. Hayes, who has possibly the least toxic masculinity in North America, is perfection in his role, bringing a certain gentleness and a genuine sincerity to the production.
Marc Sacco, still adorable over 40 as Trent, charms as the actor-turned-bartender. Sacco has an uncommon ability to make me laugh just by smiling when he does something truly absurd, like break out into a Godspell-esque production number in front of a 7-11 convenience store. (I still giggle when I recall his joyful delivery of “I’m so glad I didn’t marry my sister!” in MusicalFare’s production of Nice Work if you Can Get It).
Davida Evette Tolbert embraces the cartoonish villainy of the monstrous Mrs. Greene, while still managing to expose a hint of humanity in the character's fear during the final moments. Sweet Alexandria Watts shines as Alyssa, the frustrating love interest, capturing the character's internal struggle.
Nicole Cimato brings determination and razz to Angie, looking terrific in Kari Drozd's snazzy costumes. Dave Spychalski earns big laughs as the long-suffering company manager Sheldon, his deadpan reactions providing unspoken comment on the oversized egos he must endure.
Sam Crystal anchors the show as Emma, offering a refreshingly authentic presence amidst the egomaniacal pandemonium surrounding her. Crystal's performance is a balance of dry humor and quiet vulnerability. She guides Emma's evolution from reluctant outcast to accidental activist with subtle grace and always with comedy, allowing the audience to experience every small triumph and setback with her.
The ensemble is a talented group of actor-dancers who bring energy and precision to every number, seamlessly transforming from jaded Broadway types to small-town Indiana residents with admirable versatility.
Theresa Quinn's music direction is excellent. Chris Cavanagh's set design is a marvel of efficiency, making excellent use of projections to keep scene changes smooth and maintain the production's brisk pace.
MusicalFare's production of 'The Prom' exemplifies why Buffalo's theater scene punches above its weight. With its stellar cast, crisp choreography, and appealing themes of acceptance and self-discovery, this is a joyous night of theater that will resonate with audiences long after they’ve gone home.
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