“And nobody out there ever gets to define the life I’m meant to lead with this unruly heart of mine.” Because love is love is love is love. And you will fall in love with The Prom at Cockpit in Court. Not because it’s an amazing story that should be told and seen and heard and embraced. Not because it has an amazing cast chock-a-block with sensational talent all across the board or because its got astonishing scenery, costumes, and lighting or extraordinary dancing. You’re going to fall in love with The Prom at Cockpit in Court because in addition to having and being all of those things, you can feel the love of that cast and crew— for the craft, for the story, for each other, for life and happiness— pounding in waves off that stage, surging through the audience and literally changing lives. It is unquestionably and unequivocally the finest, most professional production that Cockpit in Court has produced in over a decade and is incomparably the must-see show of the 2023 summer. If you see only one live theatre show in the 2023 year— make it The Prom at Cockpit in Court; you will not regret it. Directed by Roger Schulman, with Musical Direction by Nathan Scavilla & Orchestra Conducted by Catina McLagan and Choreography by Rachel Miller, this truly remarkable show will touch you the way theatre was meant to touch its audience.
How much does an ‘A-Level’ prom cost? An actual prom with no haybales (and real sets and costumes!?) Who knows the real dollar figure, but the tech team for The Prom at Cockpit in Court pulled out all the stops; it looked stunning. No surprises, of course, with the area’s foremost, upcoming theatrical design mind behind the scenic design. Sammy Jungwirth assembled an ‘A-Level’ set for this production and his attention to detail is wild. The whole show sparkles— sparkly cast, sparkly costumes, sparkly set. It’s radiant and so shiny, like a beacon of glitter calling out into the night for all the wonderful, positive, shiny things this show represents. You get the push-bars on the gymnasium doors (which is ‘oh-so-school’) as well as big shiny glitter balloons mounted around the stage’s proscenium to let you know you’re at the Prom. It’s more than just Jungwirth’s attention to detail when it comes to crafting a brilliant set; his blend of projected backgrounds to enhance physical scenery on the stage is perfectly balanced. There’s an old-school black-cutout city skyline of New York for the opening-night reception of Eleanor (the fictitious musical featured in the show— not to mention the strikingly beautiful faux playbill of said fake-musical projected onto the curtain at the top of the show) but then there’s also a twinkling star background featured during “Unruly Heart” which gives the already profound song this lasting ‘infinity effect’, which augments both the lyrics of the number and the stellar, emotions and talent radiating out fro the performers.
Shoutout to Scenic Painters Theresa Foggo and Jess Rassp, who give Jungwirth’s set that brilliant rainbow of magical color. And an extra special nod to Properties Mistress Amy Vickers for all of the little (all-too-often overlooked) details that appear on the set, like the Tony Awards and poor Barry’s Drama Desk Award. It’s all of these little details, subtle nuances— the red and green drop-striped sign for Applebee’s or the subtle posters and rainbows all over Emma’s room walls— that helps to draw the audience into this astonishing experience. Tying the scenic aesthetic together like a pretty rainbow ribbon on the perfect theatrical present is Lighting Designer Thomas P. Gardner. The lighting is colorful and effective but simple. It’s engaging when it needs to be, giving that boost of color during the more energetic dance numbers. Gardner keeps things simple and doesn’t over do it; this is the mark of a well-trained illuminating designer.
If you think the set sparkles, Robyn Alverez’ costumes practically glow with all their glimmering, shimmering colored sequins. Right from the opening number you get flashy glitz both on Dee Dee Allen and Barry Glickman; the man has shiny eggplant sparkle shoes to match his ‘opening night’ sequin blazer and complimentary black sequin vest. The prom dresses, the ‘every-day-high-school-couture’ all of it just screams perfection and is sensational representation of every color in the rainbow. Alverez is outfitting the Barry Glickman character in full-on-fabulousness in an attempt to match the exuberant sparkle of the actor playing him (Robyn Alvarez comes real close but it’s impossible to outshine the incomparable Darren McDonnell, particularly in a role that screams his name for miles.) There isn’t a costume on the stage that looks out of place and the impeccable fit, as if each outfit has been hand-altered to suit the actor wearing it is unmistakable. Again, an overriding attention to detail on Alvarez’ behalf ensures this look of perfection in every single scene. She even nails the ‘Silver Tuxedo with matching teal cummerbund and bow tie’ for Barry Glickman when he finally gets to go to the prom.
Unsung heroes of the show are often the Stage Manager (and in this case River Hansen and their stupendous run crew— Amy Bell, Cathy Kratovil, Paul Saar, Amy Vickers— are no exception) and their assistants. The Prom has pristine scenic changes with a team of lightning-slick crew moving scenery, running flies, and shifting from location to location without skipping a beat. Add to the list of ‘unsung heroes’ for this production, Sound Designer Toni Oliver. While there were no overriding ‘sound effects’ for this production, Oliver managed a theatrical miracle. Mics were in balance with the pit, which was in balance with the sound system, and you could hear everyone, there weren’t any microphone-related catastrophes or disruptions, and everything sounded clear. This is such a rare occurrence, even in professional theatre as of late, that nailing it as epically as Oliver did (and knowing that this is a community theatre production, though it feels so far above that) deserves its own special mention.
And those perfectly balanced sounds didn’t come from nowhere. Pit Conductor Catina McLagan runs a superb ship in the well-concealed pit of Cockpit in Court. With just six other musicians (Jae Anthonee on second keyboard, Jamie Williams on guitar, Matthew Carroll on bass, Michael Feathers on percussion, Allyson Wesley on trumpet, Mari Hill on reeds) and McLagan herself on piano while conducting, the pit produces a rich, harmonious orchestral sound that drives the beat during the up-tempo numbers, eases the mood for the more somber songs, and ultimately adds a layer of professionalism to the production that is another feather in the Cockpit cap of performative excellence when it comes to their production of The Prom. Nathan Scavilla, as the show’s musical director, enhances the overall musical experience of the performance by finding ways to highlight this extremely talented cast whenever they’re singing. (It’s a musical, so that’s a good half of the time.) Finding perfect four part harmonies with the principal adults during “Changing Lives” or dulcet blends during the duet with Emma and Alyssa, “Dance With You”, Scavilla has a handle on it all and you’d be hard pressed to find a more intuitive musical director for this production.
If you’ve ever been to a prom (your own, someone else’s, chaperoned your kids’ prom, etc.) you know that it is all about the dancing. And Choreographer Rachel Miller does not disappoint. Not only is their ‘Broadway’ dancing— everything from box-step and jazz hands to Fosse-inspired moves— but there’s enthusiastic, modern-inspired dancing. And Miller’s choreography is being executed not only with precision but with excitement and pure, unadulterated joy, every time a routine happens on stage. There are multiple showcases of dancer talent, particularly among the teen ensemble during “You Happened”, “Tonight Belongs to You”, and “It’s Time To Dance.” Miller and her phenomenal dance corps, which on this rare occasion happens to be all of the cast most of the time, don’t shy away from the dance breaks, really utilizing those moments to showcase a world of high-octane, full-enthusiasm, dance routines that are executed with a superb balance of clean precision and individuality. Anyone can make a rote dance corps deliver sharp, unified moves. It takes a truly seasoned choreographer with vision, understanding, and a little theatrical magic to get that plus a keen sense of individuality among the dancers. It’s brilliant and truly divine to watch.
Pulling together the perfect production of The Prom truly takes a community and a village and a miracle; Director Roger Schulman got all three with this production at Cockpit in Court. The comic timing is nuanced, and zips with a balance that is hilarious but not over the top. Every person— be they nameless ensemble number four or principal player— has a moment where you can feel their palpable connection to the story. And the story never stops rolling along; it’s rare that you get exceptional pacing from start to finish (many shows come close) but Schulman and his cast and crew truly deliver an extraordinary experience. You can feel the love and camaraderie rolling in spades all through the cast, watching the bonds these actors share with one another transcend their characters and the narrative itself to promote a positive message of love, joy, and acceptance. It hits home hard and really brings all the emotional expressivity to the forefront of the theatrical experience. Schulman has gathered a community, a family, and guided a masterpiece to the stage; it’s a true must-see with all the hallmarks of a seasoned, caring, compassionate director who truly understands the purpose of theatre.
Where does one even begin when it comes to such a sensationally dedicated ensemble? The Adult ensemble (Patricia Anderson, Brian Kraszewski, Lacy Kraszewski, Wayne Larrivey, David Steinhorn, Colleen Witowski) is holding their own as citizens of the Edgewater, Indiana community, the touring ‘ensemble’ of Godspell and pop-up characters here and there. They dance on-par those indefatigable members of the Teen Ensemble and are just a delight to watch. Keep a close eye on Brian Kraszewski during “It’s Not About Me” as he tries (and fails spectacularly, as the song intended) to wrangle attention away from Dee Dee Allen by blaring on his coach whistle. Kraszewski pops up again when the ‘liberal democrats from Broadway’ try to check into the local-yokel motel as the befuddled, clueless “concierge” and he’s just a scream to watch.
And if the adult ensemble is amazing, which they truly are (watch them get their tambourine on during “Love Thy Neighbor”) the Teen Ennsemble is on fire. They slay. They’re burning the house down and blasting the doors open and you won’t be able to stop cheering them on, giving them ovation after ovation, not only for their sensational dance capabilities, their overall energetic enthusiasm, but their completely earnest and dynamic character arcs that they deliver. The whole premise of the story is small-mindedness in a tiny town getting their eyes opened to acceptance and love; this teen ensemble nails that tenfold. Featuring Sofia Alvarez, Ava Correlli, Molly Foggo, Tristin Goodenough, Emma Hammett, Jalen Mandley, Shahmeer Mirza, Max Ozbolt, Eric Payton, Kailyn Quince, and Hayden Spitzer, this teen ensemble of not-quite-a-dozen performers is delivering the heightened energy of an entire high school. It’s mind-blowing. Each one of them is shining as bright as the shimmer curtains that show up as décor for the prom, and each one of them are as radiant and full of high-octane joy during numbers like “You Happened”, “Love Thy Neighbor” and “Time To Dance” that you can’t help but move in your seat. Tristin Goodenough and Emma Hammett, playing Shelby and Kaylee respectively, are given little moments to really drive home that character shift as they start off on the ‘homophobic’ side of the story and transition to the ‘enlightened and accepting’ side as the show progresses. You get to hear their voices, alongside the featured voices of Eric Payton and Hayden Spitzer (as Kevin and Nick, respectively) during “You Happened”, pumping out all that excitement of what it means to get to go to prom. This teen ensemble is fierce and a force all their own to be reckoned with. If they’re future of theatre, we’re in better than great shape; they command the stage, they give it more than their all, and they are telling the story with such truth and compassion, it’s remarkable.
Blended low-key into that Teen Ensemble is Alyssa Greene (Julia L. Williams) who is an intrinsic part of the narrative, but spends a lot of time hiding in with the other teens, except for when she’s not. Williams has a crystal-clear voice which is on display most prominently during her character’s eponymous solo “Alyssa Greene.” Practically pitch perfect and bringing a beautiful blend to those harmonious duets shared with the Emma Nolan character, Williams’ voice is a delicate gem that adds both sparkle and value to these songs. Her dancing is top-notch, perfectly on par with the others in the teen ensemble and the chemistry that she shares both with the Emma Nolan character and in the mother-daughter relationship with the Mrs. Greene character feels incredible genuine. As for the audaciously odious character of Mrs. Greene, Tatiana Dalton tackles this antagonist with vigor. It’s easy to take a villainous character and play the heightened peaks of villainy in that role and call it a day. And make no mistake, Dalton readily exposes those wretched attributes in a haughty, frosty, and entitled fashion when it comes to Mrs. Greene, she takes the character a step further. Delving deep into the emotional wells of possibility, Dalton unearths a vein of humanity in the Mrs. Greene character. You don’t see it until the very end of the show, but that confession of her desperate need for parental protection hits hard below the emotional belt and really does create the human connection, making her performance as Mrs. Greene multidimensional and truly striking.
Living in his own little PR-nightmare world, Sheldon Saperstein (J Purnell Hargrove) is the added fifth-wheel to the ‘liberal-democrats-from-Broadway’ bandwagon that shakes, rattles, and rolls its way into a backwater town in rural plum-tuck Indiana. Hargrove is a scream, making their moments on stage truly larger than life. With outfits that have almost as much flare as their personality, Hargrove’s portrayal of Saperstein is making this character a more integral part of the bunch. Blending their voice during numbers like “Changing Lives” and adding hilarious little ad-libs, you can’t help but laugh at all the antics Hargrove is throwing in to give this otherwise, easily overlooked character a vibrant life all its own.
Adding a surprising level of dead-pan levelness to this production is the Principal Hawkins (Troy Haines-Hopper) character. In other productions, the character has previously been as off-the-walls or over-the-top as some of the principal roles, but Schulman’s choice to use Haines-Hopper’s Principal Hawkins as a grounding point for this production is a smart one. When you have all of these galaxy-sized characters, whose stage presence demand gravitational pulls like the sun itself, all vying for attention, with the talent, charisma, and general emotional fortitude to back it up, it only makes sense to have Haines-Hopper play the character down, play the character low-key and level, and he does so divinely. You still get the exacting comic timing, particularly when he interacts with Dee Dee, and you still get that robust vocal sound during his solo number, “We Look To You” but Haines-Hopper’s Principal Hawkins is that ever-present factor that reminds everyone, despite all the razzmatazz and ZAZZ, that this is still happening in reality (both of the show and out in the real world.)
The four self-proclaimed narcissists from Broadway— Trent Oliver (Randy Dunkle), Angie Dickinson (Coby Kay Callahan), Barry Glickman (Darren McDonnell), and Dee Dee Allen (Shannon Wollman)— are their own triple-threat show all rolled up into one. Where does one even start with these four? They could each get a review all their own based on character choices, overall command on stage, dancing delights, singing sensations— you name it. They all have their own moments individually, but when they come together as a quartet, whether it’s in the comically driven scene at the local-yokel motel in Edgewater, when they’re first trying to “pick a cause celebré” to make them less narcissistic”, or when they’re finally, actually changing lives near the show’s conclusion, you get these unity that just touches the heart in an indescribable way. Right from jump street, even before they have their come-to-reality moments, you get the sense that these four performers are living their roles to the fullest and loving every minute of it. And when they sing together, it’s a concert of Broadway caliber. These four performers were made for these roles (or the roles were made for them, it’s basically one in the same.)
Randy Dunkle as the pontificating, Julliard-name-dropping Trent Oliver, wears the characters like a second skin (honestly, of the big four, they all do, but you see it first-and-foremost with Dunkle.) There’s a genuine detachment in Dunkle’s portrayal of this “I’m-a-wannabe-star-who-can’t-escape-that-TV-one-hit-wonder-life-despite-taking-my-acting-so-very-seriously”-ness (yeah, even as a wordsmith I’ve got nothing for that except je ne sais quoi, and even that felt trite to use here.) He actually makes you simultaneously feel sorry for his character while you’re busy being as annoyed with Trent as Dee Dee and Barry are. It’s wild. And his voice, oh his voice! You get that first true taste during “The Acceptance Song” (which should have won a Razzie for best-worst-best lyrics ever) but Dunkle’s real moment of vocal sensationalism comes during “Love Thy Neighbor” with full gusto, a blasting belt, and a earnest passionate sound that easily brings the house down and readily converts the kids to 100% acceptance-advocates.
Giving it Zazz and then some, Coby Kay Callahan is the epitome of ‘triple threat’ in the role of Angie Dickinson. Look that word up in Miriam-Webster and you’ll see a character shot of Callahan kicking her crazy antelope legs as Angie. She’s got panache, pluck, and a quirky sense of humor that just reads so clean and yet so spunky, it’s powerful. There is a radiant and contagious confidence that Callahan possesses not only when she’s singing and dancing but when she’s talking one on one with Emma. With dancing moves that would make Bob Fosse applaud, Callahan delivers a superb rendition of “Zazz” that sincere style, clever confidence, and all— That— ZAZZ. Callahan simply slays in the role of Angie Dickinson, being somewhat lesser of a narcissist (by comparison to Trent Oliver, Barry Glickman, and Dee Dee Allen), but still finds that deep, meaningful moment of transition, which really opens up an empathy-path for the audience to relate to and adore Angie. She’s a knock-out-triple-threat sensation and the perfect pick for the part.
Robyn Alverez had the right idea when it came to that ‘so-loud-its-deafening’ purple-print-pattern suit for Barry Glickman… but Darren McDonnell is louder, crazier, zanier, and more fully over-the-top, if such a thing can be imagined. You’ll bust a gut trying not to laugh at his antics, particularly when he’s quipping at Dee Dee or Trent, and when he’s on the offensive, going at the homophobic town-kids in the early scenes in Edgewater. But what’s truly brilliant about McDonnell’s performance is not just the over-the-top flamboyance, it’s the layers he builds into the character, and the precision of his execution of when to flaunt it, when to tone it down, and when to be a grounded, realistic human being. The moment that truly gut-punched and brought tears for most of the audience (myself and my mother included) was when he states, quite simply, but so authentically, “If you don’t let her be herself, you’re going to lose her.” The flaming narcissism is hilarious but McDonnell instantly softens, and still brings a little humor, whenever he interacts with Emma. It’s a rare treat to see a performer who knows how to balance a character, play the extremes of that character in just the right moment, and still deliver a knockout performance. And he’s got so many solo moments of song with that tremendously gorgeous voice that will blow back the doors of the auditorium. McDonnell gets the ball started with “Tonight Belongs To You” and it’s truly a delivery of ‘Barry hasn’t blown it, he’s gone big— not home— he’s owned it!’ But his eleven-o’clock radiant moment that is show-stopping bliss is “Barry’s Going To Prom.” You get this universal, relatable joy of everyone who’s ever had the dream of wanting to feel special and attend a big event (even if it isn’t prom) just radiating all through his being, and that glorious voice belts to the rafters that enthusiasm, that hope, that celebration and it’s beyond amazing. McDonnell has such a handle on both the heart and humor of this role, it’s arguably the finest work he’s done to date on stage.
It should be a federal crime that local superstar Shannon Wollman only graces the stage once a decade, but my God is it worth it. In the role-of-a-lifetime, the role of Dee Dee Allen, you could readily believe that Wollman is a Broadway star, gracing Essex with her phenomenal cosmic talent. Her timing is outstanding, both with her comedic and sincere moments of textual delivery. And the connections she makes (while the Barry character really gets to bond with Emma, the Dee Dee character makes more of a link with Principal Hawkins) are authentic beyond compare. The bombastic, boisterous nature with which Wollman attacks the number “It’s Not About Me” could easily blow the roof the joint; her powerhouse voice is the stuff of legend and the way it carries through those diva-designed numbers (both that and “The Lady’s Improving”) is extraordinary in a magical theatrical way where no word-based description could ever do it justice. Singing and dancing her way through the show, Wollman would readily give Bette, Barbara, and Bernadette a run for their money. And those sparkling-sequin outfits she’s wearing can’t hold a candle to the oceans of personality pouring out of her portrayal. There really aren’t enough descriptive words to do Wollman’s overall performance any kind of justice, she’s got Broadway vocals for miles and miles with so much personality it practically explodes the stage apart whenever she’s on it, even in the milder moments where she’s learning and changing and becoming a new version of Dee Dee Allen. She pairs perfectly with both McDonnell’s Barry Glickman and Tory Haines-Hopper’s Principal Hawkins; Shannon Wollman is perfection as Dee Dee Allen, no question.
And if you’re blown away by those four adults, when you see and hear Nia Chavis as Emma Nolan your jaw will drop in awe at her raw talent, her intense delivery, her astonishing voice, and the fact that she’s a recent high school graduate. There is a sharpness to Chavis’ delivery when Emma Nolan has to stand her ground and not be bullied into submission by the terrible, awful, close-minded people in Edgewater. But you can also feel the hurt, the pain, the raw emotions that Chavis is forcing the character to conceal. She masterfully toes that line of ‘pretending not to care what they think or at least not letting it show how very deeply hurt she is by their actions.’ It’s stunning. And Chavis’ voice is its own powerhouse force to be reckoned with. (I know the song-line is Barry’s when he says ‘…you be Elphie, I’m Galinda!’ but I feel like after seeing this show, you just can’t help but want to hear Nia Chavis and Shannon Wollman go head-to-head in a Wicked-style belt-off-battle.) “Just Breathe” is the song where Chavis gets the audience primed to be a part of her story, mingling comic effect with glorious voice. By the time she rolls into “Unruly Heart”, Chavis has the audience hook, line, and sinker with her command of character, her execution of authentic emotions, and her overall ability to tell a true story through song. She dances with impressive confidence and brings the role her all, really making Emma Nolan a universal character in this infinite story of just wanting to be loved and accepted for who you are.
One thing’s universal, life’s no dress rehearsal— so why not make some waves before it’s through? Cockpit in Court is certainly making waves— splashing whole oceans of amazingness all over that main stage with The Prom. You better get your tickets, or you’ll have blown it. This is easily the finest show Cockpit has produced in a decade or more, arguably the most impressive show playing on any stage in the tri-regional area at present, and you will be sorry if you miss this one. If you’ve seen The Prom, don’t miss seeing Cockpit’s The Prom, and if you haven’t seen The Prom, Cockpit in Court has the finest production you’re ever likely to see. Do not miss this radiant, sparkling theatrical gem this summer.
Running Time: Approximately 2 hours and 45 minutes with one intermission
The Prom plays July 21st through August 6th 2023 at Cockpit in Court in the F. Scott Black Theatre of The Robert and Eleanor Romadka College Center at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard, Essex MD. For tickets call the box office at (443) 840-2787 or purchase them online.
To read the interview with Coby Kay Callahan, Darren McDonnell, Randy Dunkle, and Shannon Wollman, click here.
