REVIEW: The Prom at Teatro
- Victoria Luxton (she/her)
- 2 days ago
- 2 min read
I saw The Prom at Teatro on Saturday night, and it felt, above all else, joyful.
This Australian premiere arrives at the newly revitalised Teatro at the Italian Forum, directed by Andrew Bevis, with co-direction and choreography by Nathan M. Wright and musical direction by Bev Kennedy. What they have created is a slick, high-energy production that leans confidently into the language of commercial musical theatre.
The world of the show is unmistakably Broadway. A sparkling set, blindingly glittering costumes, big ensemble numbers that burst with polish and precision. It is glossy, bright, and at times almost overwhelmingly sweet, all wrapped up neatly in a Broadway bow.
And yet, within all that sheen there is heart.
At the centre of the story is Emma, played by Sophie Montague, a high school student banned from attending her prom because she wants to bring her girlfriend. Sitting in the audience as a queer person, that premise struck something deep and immediate in me. It is a story that feels both heightened and painfully real. The idea that something as simple, as formative, as a school prom could become a site of exclusion.
Montague carries that emotional core beautifully. Their voice is gorgeous, but more than that, it is full of sincerity. There is a softness and honesty to their performance that cuts through the spectacle and grounds the show in something human.
Opposite them, Paige Fallu as Alyssa Greene brings warmth and complexity to a role that could easily feel one-note. Around them, a young and committed ensemble fills the stage with energy, throwing themselves into the choreography and the heightened style of the piece with admirable commitment.
Leading the adult contingent is Caroline O’Connor as Dee Dee Allen, bringing her signature command and presence to the role. Alongside her, performers including Brendan Monger and Bella McSporran add polish and comedic flair, reinforcing the show’s Broadway sensibility.
What struck me most was the tension between form and message.
The Prom deals with big themes. Inclusion. Visibility. The right to exist openly and without apology. These are not small ideas. And yet, they are delivered here through a lens that is bright, commercial, and deeply familiar to musical theatre audiences.
At times, it feels almost paradoxical. The issues are sharp, but the delivery is sugar-coated. The message is urgent, but it arrives wrapped in sequins.
And still, it works.
Because beneath the sparkle, the sincerity is undeniable. There is something deeply hopeful about watching a story like this unfold in such a public, celebratory way. About seeing a young queer character centred, fought for, and ultimately embraced.
I found myself thinking about how many people in that audience might need exactly this. Not a subtle meditation, but something bold, bright, and unapologetically visible. Something that says, loudly and clearly, you belong here.
The Prom may be polished to within an inch of its life, but it never loses sight of its heart.
And on a Saturday night in Sydney, that heart felt loud, generous, and full of joy.
Check out The Prom now at Teatro At The Italian Forum now until 19th April, click here to buy tickets.
