Three reasons to see this production that start with the letter P: Powerful acting, phenomenal costumes, and pulls at your heartstrings.
Queen’s Musical Theatre (QMT) opened its fall term show The PROM on Jan. 19, with a pay-per-view on Jan. 18 at the Rotunda Theatre. The PROM is the perfect mix of comedy, queerness, and proving love is a powerful force to be reckoned with. Each character in this show finds love in some form, whether it’s for someone else, their career, or themselves.
Based on true events, The PROM follows four Broadway actors on a personal mission to clear their names after being labelled narcissistic. The actors decide to support a social justice cause and prove themselves to be selfless activists by travelling to Indiana, where a lesbian teenager has been denied the opportunity to attend high school prom with her girlfriend.
Director Noah Solomon, ArtSci ’24, expressed their passion for The PROM in the director’s note and wrote it’s the perfect show to bring to Queen’s given the current social and political climate regarding LGBTQ+ rights and the existence of LGBTQ+ people and policy in education.
“Many of these incidents [anti-trans rallies and acts of homophobia and transphobia] come from a place of hate and fear that has been injected into society. These feelings stem from discomfort in facing the unknown, the changing of the status quo, and ignorance—which blinds people from the truth that everyone is deserving of equal rights, compassion, and love,” Solomon wrote.
The PROM showed audiences everything the producers were hoping for. The cast and crew put their hearts on the line with a show that embodies the queer teenage experience, and the crowd loved it.
Photo by Olivia Farquhar
The casting choices are one of the most prominent highlights of this production. Kate Megginson, BMuth ’25, plays Dee Dee Allen, a narcissistic, middle-aged actress, with poise and chaos. Megginson effortlessly went from calm to enraged during a scene depicting the loss of her multi-million-dollar mansion, delivering a performance both hilarious and jaw-dropping.
The chemistry between Emma Nolan and Alyssa Greene, played by Nicole Martin, BMuth ’25, and Trista Swaby, ArtSci ’25, respectively, had the audience rooting for their love story from the moment they stepped on stage.
Mrs. Greene, played by Dominque DelBen, ArtSci ’24, is the villain you love to hate. The character is an amazing portrayal of a mother struggling to confront the truth about her daughter’s sexuality. Anyone with a coming-out story knows what this character looks like, and DelBen nailed it.
A musical highlight that had the audience completely captivated was “Love Thy Neighbour” by Trent Oliver, played by Lucas Nasu Nielson, ArtSci ’26. His amazing stage presence, lively vocals, and comedic timing made the religious commentary palpable and fun.
The energy and life the entire cast brought to the stage was electrifying. The vocals and acting were clean; however, the choreography fell short in comparison and the stage seemed underutilized at times.
Ensemble dance numbers were less polished than solo and duo performances. The movements were exactly what you would expect if you walked into an intro to musical theatre dance class.
I craved something a little more out of the box and reflective of queer culture. The choreography was lackluster overall and could have taken more risks to emphasize the stylistic differences between the four Broadway stars and the small-town Indiana community.
Set changes and transitions were too long between some numbers, and the energy from the previous scene was lost. The set was well designed and had many moving pieces, but the stage still felt empty, especially during scenes when the entire ensemble wasn’t filling the space.
The costumes were beautiful and hilariously curated to reflect each character’s distinctive personality and character arc.
Dee Dee Allen’s giant fur coats and flashy opening number sequin dress screamed Broadway narcissist. Barry Glickman’s silver suit was everything the audience hoped it would be when it was finally revealed in the closing number.
The colour schemes blended well together and allowed for each character to stand out individually but still feel like part of the ensemble. Even the LGBTQ+ rainbow shirts, which would typically feel performative or tacky, enhanced the show’s comedy and artistic commentary on performativeactivism.
QMT’s The PROM signifies more than just bringing change through theatrical performances.
“The PROM holds a special place in my heart. Not only was I unable to attend prom, but I’m also a part of the LGBTQ+ community,” Solomon stated in the show program director’s note.
High school is an integral part of queer identity for many reasons. For many in the LGBTQ+ community, it’s a time of discovery, anxiety, and hope. Prom is a big part of the high school experience and when the once-in-a-lifetime opportunity is overshadowed by social expectations, it’s easy for members of the LGBTQ+ community to feel more out of place than ever.
QMT’s The PROM became a show not just about love but about healing the inner child of LGBTQ+ people in the audience who lost a part of themselves in high school.
It was beautiful to witness Queen’s students, during a volatile time in society where LGBTQ+ rights are a hot topic for educational institutions, put on a show about embracing love and letting go of the fear that is the unknown.
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