New in 2018 When Broadway's brassiest stars get word that a student is unceremoniously sidelined from a small-town Indiana prom - and that the press is involved - they gear up to save the day in a new musical comedy.
From the producers: They used to be the toast of Broadway, now their careers are toast - and they’re desperate for a new stage. So when these four stars hear that trouble is brewing around a small-town Indiana prom - and the press is involved - they know that it’s time to put a spotlight on the issue...and themselves. The town’s parents want to keep the dance on the straight and narrow - but when one student just wants to bring her girlfriend to prom, the entire town has a date with destiny. Now, Broadway’s brassiest are coming to join the fight in this new musical comedy filled with uproarious laughs, huge heart and show-stopping dance numbers!
The Tony award-nominated team of composer Matthew Sklar and lyricist/bookwriter Chad Beguelin wrote the scores for the Broadway musicals "Elf" and "The Wedding Singer." They are the recipients of The Jonathan Larson Performing Arts Foundation Award, The Edward Kleban Award, the Gilman & Gonzalez-Fall Musical Theater Award and ASCAP Foundation Richard Rodgers New Horizons Award. Co-book writer Bob Martin is best known to Broadway audiences for his performance as reclusive theatre obsessive “Man in Chair” in "The Drowsy Chaperone," for which he also wrote the book and earned a Tony nomination for his role. "The Prom" comes to Broadway following a world premiere in 2016 at Atlanta’s Alliance Theatre.
Reprising their performances from the Atlanta run are Tony winner Beth Leavel, Tony nominees Christopher Sieber and Brooks Ashmanskas, Caitlin Kinnunen, Isabelle McCalla, Angie Schworer, Josh Lamon, and Courtenay Collins. Joining them for the Broadway bow is Michael Potts. The musical is directed and choreographed by Tony winner Casey Nicholaw ("The Book of Mormon," "Mean Girls").
Such a joyful hoot...With its kinetic dancing, broad mugging and belty anthems, it makes you believe in musical comedy again. Sincerity can be dangerous for comedies...If that problem is mostly avoided here, it is at a slight cost to depth and texture. Moving so fast you can hardly see the cracks in the road, ["The Prom"] consistently delivers on its entertainment promises as well as its Golden Age premise: that musicals, however zazzy, can address the deepest issues dividing us.
AM New York
Many important social issues get run over by lame humor, underwhelming songs and ultra-hammy performances...so flimsy, tacky and amateurish that it leaves you wondering how it got to Broadway in the first place. The youngest cast members come off best...the adults, on the other hand, are weighed down by tedious jokes marked by an overreliance on insider musical theater references and one-dimensional characterizations, which they attempt to compensate for by pushing too hard with their performances.