Show them that it can be done! Build a prom for everyone! It’s Prom season, y’all. (Just like it used to be Les Miz season and Mamma Mia season?) Throwing their hat into the ring, Scottfield Theatre Company is building The Prom and it’s pretty spectacular. Directed by Chuck Hamrick, with Musical Direction by Nathan Scavilla, and Choreography by Becky Titelman, this inspiring new musical is making the rounds across the state, and Scottfield Theatre is showing everyone their flashy, splashy, heart-filled take on the ‘show of the season.’
This production sets itself on the theatre main-stage of the Chesapeake Center at Harford Community College, which gives choreographer Becky Titelman space to expansively express some very enthusiastic and energetic dance routines. If there’s one complaint to be had about the production its that the choreography, at times, isn’t as tight or as precise as one might hope, but the kids are dancing their butts off with a great deal of effervescence and the routines are chock-a-block with power-pump moves that often involve arms and legs going in stylized gestures all at once. You get the radiant sensation that they’re filled to bursting with excitement about these dancing moments, especially during “It’s Time to Dance” and “Love Thy Neighbor.” The feeling is there, the contagious energy is there, and the tightness will hopefully improve as the production runs its course.
The set is somewhat of a blank canvas, but that’s actually okay; you get the basics— a rolling vertical flat to show you that you’re either in the school somewhere, or the principal’s office, or even the cheap motel that the Broadway stars end up booked at when they visit Indiana. Minimal props and simple décor allow for expedient scene changes, which helps keep the production rolling along at a clip. Lighting Designer Bevin Gorin finds the balance between ‘party-disco-lights’ and simple focused mood-lighting, using the former to amp up the energy during the up-tempo numbers and the latter to call attention to some of the more somber and sobering moments, like when Alyssa Green gets her eponymous solo.
With the amount of crazy costumes happening in this production, its no wonder that there needs to be three members of the Costume Design Team working to get just the right level of sparkle and flare. Director Chuck Hamrick works alongside Liz Marion and Shannon Ragan to get the ‘adults of the show’ AKA the “liberal democrats from Broadway” looking their best as their fabulous selves while finding unique costumes that suit each member of the younger, teen ensemble. You really get a showcase during both proms (the one at end of Act I and the one at the end of Act II) of colors and styles that fit and flatter everyone on the stage. There’s a lot of sparkly, gay-positive t-shirt apparel happening for the Barry Glickman character and that lands right in the wheelhouse of awesome for his character and his shimmering silver-dust suit with the aqua accents just slays.
Musically the production is very impressive. Powerhouse voices roll out of the ensemble like there’s no tomorrow. Musical Director Nathan Scavilla has taught this group well when it comes to blending, harmonizing, and power-house belting their faces off with real, raw emotion. Conducting the live (well-hidden) orchestra pit (and switching off with Catina McLagan), Scavilla commands the seven-person live orchestra (himself, Matthew Peterson on keyboard, Jamie Williams on guitar, Michael Kellman on bass, Michael Feathers on percussion, Michael Barber on trumpet, and Dave Dimmock on reeds) for a successful and consistent sound throughout the performance. It’s an electrifying sensation, the live pit as well as the extraordinary sounds coming out the cast.
Director Chuck Hamrick has casting perfected. Everyone feels like they fit exactly where they’re meant to fit in the roles in which they have been cast. His staging errs on the side of simple but expansive, filling out over the broad, open space provided by the Chesapeake Center. And there’s nothing wrong with simple, especially as it allows for the narrative heart of this musical to take centerstage. There’s a really powerful moment late in Act II, where a bunch of ensemble members, dressed in pajamas, come to the edge of the stage, practically in the house, to provide backup harmonies during “Unruly Heart” and it’s just such a simple split-cluster, yet it’s very effective in the emotions it evokes. You get a lot of simple little moments like this, all accented and augmented either by Gorin’s lighting design or Titelman’s choreography, when it comes to general staging and blocking.
It’s a bubbly ensemble for sure. And they are a force and a half when it comes to powering through numbers like “You Happened” and “Tonight Belongs To You.” There’s a lot of ‘teening’ in this ensemble— you know, obsessive selfies, thinking they are the center of the universe, etc. and lots of that comes out in body language, gesturing, and facial expressions with this bunch. The ensemble (Addison Marino Barry, Ally Berger, Adam Biemiller, Piper Biemiller, Kalea Bray, Beth Dallaire, Ethan Folmer, Logan Folmer, Lea Echegaray, Carly Greaver, Camryn Hagy, Misti Hagy, Gabby Harris, Jason Klarman, Sophia MacKinnon, Liz Marion, Tate Menges, Drew Opdyke, Rebecca Ragan, Shannon Ragan, Meg Smith, Victoria Uleck,) are pouring heart, soul, and spirit into their characterizations, their singing, dancing, and overall storytelling for this performance and it generates something magical. Carly Greaver and Piper Biemiller, as Shelby and Kaylee, have that heinous attitude as homophobic cheerleaders, but watching their character arc of growth is really something remarkable. These two, alongside Ethan and Logan Folmer (as Kevin and Nick respectively) are often featured dancers in the bigger dance routines.
As the slightly flighty Sheldon Saperstein, agent to the stars, Ryan Bordenski puts a little charm and a little sass into the role. You don’t want to overstate the Sheldon character as he’s just a quirky comic device that helps advance a few of the scenes along and Bordenski does a good job of keeping him level-headed while still finding the chuckles that the character has to offer. Pulling a polar opposite type of character, Holly Ruhling ruthlessly embodies the revolting human that is Mrs. Greene. With permanent resting b**ch face, and an attitude to boot, you get this keen sense of every backwards-thinking, ‘southern-Marjorie Taylor Greene-type woman compressed fiercely into this one character. She’s helicopter mom on an agenda, tenfold.
Scene-stealing Derek Cooper has the audience rolling with laughter when it comes to his portrayal of the principal, Mr. Hawkins. The word of this show is by far— balance— because everyone is coming at these characters with a sharp understanding of how to balance their duality, and Cooper practically defines that. He’s got wildly animated facial features, which are perfect when it comes to responding to the shenanigans and chaos that is Dee Dee Allen, but he’s also got this firm sense of when to be serious and when to not let those animated expressions of his run away with a scene. With a beautiful voice, he adds love, light, and true visionary imagery to “We Look To You.” It’s a beautiful song, reverent and real, and Cooper gives the number its due with his lovely voice and sincere approach. Cooper cultivates this moment to clearly express how very important theatre truly is for anyone and everyone who has ever taken refuge in it, found solace and comfort in it, and used it to escape from the pressures of reality.
Angie Dickinson (Katie Cashin) is the cling-along to the group of four ‘big Broadway stars’ but Cashin lets you know that she’s here for the role and she owns it every step of the way. With crazy long antelope legs (totally a description from the libretto and she’s living up to it!), Cashin slinks her way into “Zazz.” The storied build-up to the song is actually really enchanting and charming in an anecdotal sense as she rattles off the ‘Fosse/Zazz’ tale. And when she sashays her way through the number you get a nice triple threat— solid singing, sassy dancing, and an impressive performance. She treats the confidence of “Zazz” like a physically tangible thing which she then transfers via her attitude to Emma and it’s striking.
Taking the role of Trent Oliver and turning it into an over-the-top caricature of that one actor we all know— you know the one, who is constantly steeped in ‘but I a real act-oor’ and forever lauding his accomplishments and pedigrees— Xander Conte delivers an campy and yet oddly grounded performance in this role. He’s got the voice for miles, there’s no doubt about that, and you hear it during “Love Thy Neighbor”, Trent’s big solo number. And he adds little bits of hilarity here there and everywhere— like near the end of one of the “Changing Lives” segments when the four are still in New York and he takes off his red-velvet coat and starts waving it around like the flag during “Do You Hear The People Sing?” Conte connects with the ‘teens’ of the production in a way that really has their enthusiasm pumping and that “Love Thy Neighbor” really does become an epic, show-stopping number.
Like a true loose-cannon, celebrity gone rogue with confusion, Lauren Spencer-Harris tackles Dee Dee Allen brilliantly. Another one with wildly animated facial expressions that go on for days, you get this clear sense of “celebrity who does not understand reality” right from the moment the ‘pan’ of her latest musical gets read. Again in striking balance, there’s camp and kitsch but there’s also sincerity and gravity to what Spencer-Harris is bringing to the table. And when she belts…somebody better check the roof-rafters because she’s liable to blow them clean off the building. When she blasts her way through “The Lady’s Improving” for a half a hot second you feel like we’ve switched productions entirely and she’s going for Momma Rose and belting her face off. The end belt and sustain of that number is indescribable. A force to be reckoned with when she’s belting but also a gentle soul when she’s trying to figure out her place as a person who learns to put the needs and interests of others before her own, Spencer-Harris is a knockout sensation as Dee Dee Allen.
To blatantly steal a line from Mel Brooks— “…our leading man he was so gay, he nearly flew away, where did we go right?” Casting Patrick Yarrington in the role of Barry Glickman, that’s where. Flamboyant, fabulous, and yet— still balanced with sincerity in moments where it’s called for— you get this honest-to-God fabulous screaming queen out of Yarrington’s performance that pays its due to the character the way its structured in the libretto. There’s sass, there’s class, oh and he can sing the hell out of “Barry’s Going To Prom.” You get a ton of sincerity in moments where Yarrington’s Barry shares the stage with Emma, delicately peppered with saucy zingers and zippy quippy one-liners. Yarrington’s command of comic timing and understanding of how to affect the flamboyance of his character in way that is believable but not caricaturized is flawless. And he’s got dance moves to boot.
The dynamic between Emma Nolan (Maggie Dennis) and Alyssa Greene (Lizzie Detar) is a heartbreaking, heartwarming, deeply chaotic, swirling maelstrom of the struggles of being teenagers in love. Factor in the chaos of one of them being a closeted lesbian with a tyrant for a parent and it gets so deep so quick. The entire cast has facial expressions that truly explain inner and outer monologues, and Detar as Alyssa, makes use of this skill frequently. The constant panic, the constant uncertainty, the unimaginable pressure to live up to her mother’s expectations while fighting with her internal heart and what she wants— it’s heartbreaking to watch, because Detar does it so authentically. When she finally gets a her shining solo, “Alyssa Greene”, it’s this tragically beautiful sound that is so expressive and so moving, you can’t help but feel for her. And when she’s in duet with Dennis’ Emma, it’s just a sublime sound of well-twined voices.
As Emma Nolan, Maggie Dennis is playing up the deeply pitiable, sullen misfit who has equal parts naivete blended with her sense of nerves, sense of being an outcast, and overall sense of being. I’ve honestly never wanted to hug a character so much as when Dennis comes to the front edge of the stage, singing that momentary bridge-reprise of “Tonight Belongs To You”. It is utterly heartbreaking how well she conveys the emotions overtaking her in that moment. It’s also a stunning rock-bottom moment for the character, which Dennis then uses as a stepping stone to rebuild the character of Emma, with just a tiny bit confidence, a whole lot of ‘questionable help’ from the ‘Broadway stars’ and a huge heaping of earnest emotions. When she sings “Just Breathe” there is an uncanny humor mingled with tragic beauty trapped in just one solo and it’s extraordinary.
It’s a convivial cast, a feel-good production, and it’s got a lot to offer from a storytelling point, from a musical theatre experience point; it’s an all-round great evening. Don’t skip The Prom, it’s a magic moment and it’s truly for everyone at Scottfield Theatre.
Running Time: 2 hours and 50 minutes with one intermission
The Prom plays through April 30th 2023 with Scottfield Theatre Company in the theatre of the Chesapeake Center at Harford Community College— 401 Thomas Run Road in Bel Air, MD. Tickets are available for purchase at the door or in advance online.
