Ateneo Blue Repertory’s the PROM: Is it Worth Saying Yes To?
As someone who did weekly fanart posts on Hamino and performed out-of-tune Barrett Wilbert Wilson’s Veronica to her unwilling friends, Theatre has always been a concealed, guilty pleasure of my teenage years. Now, at twenty, musicals have a certain nostalgic, whimsical energy―it’s difficult to recreate the magic of watching your first show or hearing the opening song.
So, when I was granted the opportunity to watch Ateneo Blue Repertory’s the PROM (a big thank you to Anika Castillo for her unwavering emails and kind words), I was curious to see how they would bring the 2016 musical to life. The premise is not hard to follow (so if you’re a newbie to musicals, this is a great introduction), with four veteran actors gaining incredibly negative reviews on their narcissistic performances in Eleanor!: The Eleanor Roosevelt Story, they decide that to be back in the spotlight, they’d have to advocate for a worthy cause that discerns all previous allegations. Immediately, Andre Blas brings Barry Glickman’s character to life through his sass and class (IYKYK). Admittedly, this had to be my most highly anticipated role as Barry’s predecessor, Brooks Ashmanska, is known for his ability to jump from tenor to baritone (evidently, a very tough role to fill). Blas, nonetheless, exceeds expectations and embodies Barry to his abilities, apparent in the generous laughs audiences shared throughout the night.
That’s not to neglect Khassie Cañada’s efforts as Dee Dee Allen. Dee Dee is made lovable through her quintessential character-building, but Cañada brings more complexity to her through clear enunciation, strong line delivery, and calm under pressure (her belt in It’s Not About Me is one you cannot miss!).
As for Marco Casteñeda’s Trent and Sabel Lamadrid’s Angie, they were two pleasant surprises. Initially, Trent and Angie come off as afterthought characters or plot line developers, and while the Ateneo blueREP’s the PROM retains the original screenplay, Casteñeda, and Lamadrid are so animated that even in moments where they aren’t at the centerfold, you’re still drawn to them.
Photo above, left to right: Trent (Marco Casteñeda), Dee Dee (Cañada), Andre Blas (Barry) & Angie (Sabel Lamadrid) | Shot by Marius Goitia
Jumping to Edgewater, Indiana, we are introduced to LGBTQIA+ teen Emma (Andie Lopez), unaware of the hurricane troupe coming her way. Lopez captures the anxious righteousness present in Emma through awkward (but endearing) pauses and empathetic song recitals. I’ve been binge-listening to Dance with You
Photos above: Ateneo Blue Repertory’s Emma (Andie Lopez) & Alyssa (Celine Tam) | Shot by Marius Goitia
more times than I can count, bringing me to my next point―Celine Andrea Tam as Alyssa was marvelous casting. Tam and Lopez have great chemistry that brings you back to your undefined high school MU, and while they work great as a tandem, they shine just as bright individually. Personally, Tam brings new life to Alyssa Greene. She’s exceedingly expressive and encompasses the lyrics on a deeper, internal level. Previously, this was my intermission/skip song
(uncultured, I know), but during Tam’s performance, her delivery related on such a realistic level that I had to give it an honorable mention.
Speaking of chemistry, I also enjoyed RJ Paderayon’s Tom Hawkins and Khassie Cañada’s Dee Dee’s relationship. Like Blas, Paderayon had a tough role with how deep Principal Hawkins’ voice demands. But as seen in the main cast, he too delivers. While Tam and Lopez’s chemistry is more adorkable, Paderayon and Cañada have a more natural approach and seem to relate to each other even beyond the stage. Additionally, Paderayon captures the collectiveness of Principal Hawkins and knows exactly what his role requires.
And if we’re on the topic of exemplification, one actress who concretizes her character like no other is Cio Tabayoyong as Mrs. Greene. Her Karen-esque tiger mom is epitomized by her pronounced delivery and out-of-this-world dramatics. Tabayoyong’s characterization of Mrs. Greene reminded me of Samantha Sloyan’s depiction of Bev Keane in Midnight Mass, in which their beliefs affect those surrounding them. And, as we know, playing unlikable characters calls for unwavering resilience and patience, which Tabayoyong nails flawlessly. In general, the whole company gives their all in this performance. For a Newbie Production, Ateneo Blue Repertory’s the PROM shifts expectations to greater heights.
I won’t give direct spoilers (because this is a show that deserves to be watched in real-time), but Ateneo Blue Repertory’s the PROM keeps the integral roots of the original alive while adding its own charm. From the ensemble to the emcees, all the way to the production crew, the genuine affection throughout its adaptation makes it the shining glory. During the Preview Night, I felt the fervent drive of the committee to execute a successful play. But beyond success, what truly stands out is their love for their craftsmanship. In a world of adulting and research theses, Ateneo Blue Repertory reminds audiences of the beauty, romance, humor, and youth that surrounds us even as time elapses. And for a night, viewers are metamorphosed into a stage of confetti and acceptance. So, as you can tell from my long-list positive remarks, I’d say yes to Ateneo blueREP”s the PROM and encourage you to do so too.
