By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out“)
New Orleans audiences have long been enamored of local comedy genius Ricky Graham, but thanks to the regional premiere of The Prom, they are now becoming acquainted with the fictional character of Barry Glickman, a narcissistic Broadway leading man who Graham plays to his heart’s delight.
But Glickman is not alone. With him are a bevy of broken Broadway performers reeling from a recent flop –Eleanor: The Musical – about First Lady Eleanor Roosevelt. Leading them in her own inimitable fashion is Dee Dee Allen (the amazing Elise Harvey Spurlock), a two-time Tony Award winner who is as clueless as she is egocentric.
Depressed after reading the reviews that can only mean an immediate closing for Eleanor, the full complement composed of Angie (Victoria Clement), an ensemble featured wannabe star; Trent (Barry James Acosta), a Julliard graduate presently on the road with the non-Equity national tour of Godspell; and Sheldon (Michael Vaughn-Kennedy), an aging publicist, decide they must do something to repair their reputations. It must be something that will improve their ratings, but it shouldn’t be so difficult to achieve.
Picked completely at random, they select a trending theme on the internet: a girl in Indiana has been forbidden from attending her prom because she wants to take her same-sex date. That’s it, the group determines and off they go trying to save “that little lesbian.” The setup for the book of the musical is pretty simpled, but the hilarity that ensues is due to the botched and bungled “rescue” that follows.
Playing the role of Emma, the girl in question, is Kelly Laines, whose stage presence is quite beyond her tender years. It is Emma who carries with her the gravitas of the musical and her positive attitude when her world is crashing about her endears the audience to her plight. The plaintive song “Dance With You” expresses the simple goal she has in mind and it is sung to the unnamed object of her teenage desire: Alyssa Green (Samantha Fouchi).
It turns out the chief architect of the school’s opposition can be found in the head of the PTA, none other than Alyssa’s mother, Mrs. Green (Kelly Fouchi), who wages a nasty battle for morality, while using several immoral tactics in her campaign to “protect” the students.
Kelly Fouchi does double duty, not only acting on stage, but also directing from the sidelines. Donning a wig that obscures her normally ginger hairstyle, she is almost unrecognizable. That is until she dances. Regrettably, her opportunities to show off her dancing skills are few in number, but when she does, they are quite memorable. Playing opposite her real life daughter Samantha affords her a rare chance to act on stage with her prior to her leaving for college. So, this is a real family affair.
But while Emma wanting to ask Alyssa to the prom is the catalyst of the work, the work of the Broadway actors who are there to “save the day” constitutes the comedic essence of the musical and leads to a number of flat-out, hysterical songs with clever and fun lyrics. The book by Bob Martin and Chad Baguelin and lyrics by Baguelin perfectly complement the Matthew Sklar music that drives this touching work. Yes, there will be tears, too.
A great example of the former is the narcissistic number featuring Spurlock as Dee Dee Allen at the opening “Changing Lives,” where the importance of these Broadway actors cannot be understated…and they don’t! Emma’s opening song “Breathe” and the ballad “Unruly Heart” are great examples of the latter.
Spurlock should be complimented on filling in at the last minute and performing as any professional would in the absence of the original actress assigned the role. It is the stuff from which musical theatre legends are born. The first two shows on the opening weekend were cancelled, while she learned the songs and blocking for a single performance on the first Sunday. That was followed by more intensive instruction as she put away all the choreography and owned it by the second weekend.
While Graham does enjoy a number of comic one-liners and controls much of the action and reactions, Spurlock has the spotlight firmly fixed on her character as she pontificates and demands justice for Emma, but for all the wrong reasons. In “It’s Not About Me,” Despite insists she is there to save Emma, although she forgets Emma’s name and even the town where they are taking their stand. Indeed, if the song proves anything, it’s that it is about her.
Spurlock also shares stage time with Ryan Ramon, who portrays fair-minded high school principal Mr. Hawkins, a Broadway fan and devotee of Dee Dee Allen. He worships her from afar and when Allen, Glickman and company show up on his doorstep, he is elated at first, but soon draws his own opinions as to their dubious motivations. The attraction between the two opposites cannot be denied, but it requires a change in philosophy for the successful Broadway star that begins with her reprising a number that made her famous on the Great White Way, “The Lady’s Improving,” a tour de force for the belt of Spurlock.
The second act opening featuring Clement as Angie opposite Laines as Emma is one of the more endearing of the numbers, “Zass.” At her lowest ebb, Emma is about to lose hope when Angie comes on as part Broadway hoofer and singer and part cheerleader. By the time the song ends, the audience firmly believes in the power of “zass” to perform miracles. Clement, as a seasoned performer, puts Laines, the reluctant student, through her paces and the payoff is charming.
Acosta also has his turn in the hilarious number “The Acceptance Song” performed for the small Indiana town to see at a most unusual venue. Later, he challenges the other high school students to think about their actions with a song “Love Thy Neighbor” that cautions them they cannot cherrypick what rules to follow in the Bible. Like all the other Broadway performers, he also experiences growth and begins to think less about himself and more about others, especially the students with whom he engages.
While Graham’s comic antics abound, we learn that he also experienced a terrible hardship at his own prom and eventually he finds a measure of closure from what becomes a selfless act in coming to Emma’s aid. It’s all reflected in the joy of “Barry’s Going To the Prom” late in the second act.
The Prom has a number of reasons to appeal to audiences. First and foremost the music is exceptional and well handled by music director Michael Paternostro. The lyrics by Baguelin with his book written with Bob Martin is also quite humorous, but not without a dash or two of pathos.
Also, the big dance numbers like “It’s Time To Dance” and “You Happened” are quite likable and expertly choreographed by Katelin Zelon. Terrific costumes are by Kelly Fouchi and Bethany D. Sullivan. A big shout out to Amanda Bravender for her wig designs along with Kelly Fouchi. Lighting is also beautifully handled by Camille Griffin.
The Prom (2 hours and 30 minutes with a 15-minute intermission) finishes its regional premiere run at Rivertown Theaters for the Performing Arts this weekend. Tickets are in short supply, but can be purchased here or by calling 504-461-9475.
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