Nonesuch Players Deliver Showbiz, Acceptance, and a Lot of Heart in Winter Musical, The Prom

Four Broadway stars walk into a tense PTA meeting at a high school in Indiana, where a gay teen has been excluded from attending her prom by the town’s small-minded PTA leadership. The stars are in desperate need of a cause and some rebranding, and the student—well, she just wants to attend her prom with her girlfriend like any other student, yet finds herself in a crossfire of egos, town values, social pressure, and media coverage. Thus the scene is set for Rivers’ winter musical, The Prom, performed by the Nonesuch Players. The large ensemble cast, production team, and pit orchestra delighted the audience with the magic of show business, delivering big choreographed numbers, comedic timing, talented acting and singing, and a powerful, uplifting story of love and acceptance (and many, many sequins!).

The show ran February 22 and 23 at the Eleanor Welch Casey Theater at nearby Regis College in Weston, lending these performers the professionalism of a full stage, auditorium, and sound and lighting system.

The show strikes a balance between a satirical comedy and a poignant story that packs an emotional punch about living proudly and openly. As director Zoë Iacovelli wrote in her Director’s Note to the program: “This is a story about the freedom to be yourself, love yourself, and support others, which is exactly the type of relationships I witnessed amongst cast, crew, and pit in rehearsals.”

A 2018 addition to the Broadway stage, The Prom, written by Chad Beguelin, Bob Martin, and Matthew Sklar, follows the teenage Emma (portrayed earnestly by Jordan Felice ’25), who dreams of bringing her girlfriend to prom but is let down by the strong homophobia among the PTA organizers, her peers, and even her parents. Her story makes national headlines when the PTA votes to shut down the prom entirely rather than let her attend openly with her girlfriend (Ceci Giebutowski ’25)—who just happens to be the closeted daughter of the PTA president (Lexi Tower ’24) campaigning against Emma and an inclusive prom.

Enter the four Broadway actors—the decorated star and two-time Tony winner Dee Dee Allen (portrayed by Ally Giebutowski ’25); Barry Glickman, an experienced Broadway actor with a flair for the dramatic, who himself is out and proud (Andrew Ho ’25); Trent Oliver, a onetime TV star searching for a break (Henry Goldstein ’26); and Angie Dickinson, the perpetual chorus girl waiting for her time in the spotlight (Payson Salyer ’24). After their latest show flops, receiving skewering reviews in the press, Dee Dee and Barry are searching for a way to show their audiences that they aren’t narcissists. Joined by Trent and Angie, these New Yorkers read Emma’s story online and book it to Indiana to save the day, dramatically interrupting a particularly tense PTA meeting with protests and signs (“shade never made anybody less gay” and “Lez be honest—this girl needs a prom”).

A hilarious clash of personalities ensues, replete with plenty of references, verbal and musical, to Broadway musicals—from Les Mis to Wicked to Chicago to Godspell. Unexpected relationships are formed, and more than a few hearts and minds are changed. Suffice it to say this story does end with a colorful, joyful, and inclusive celebration that features lots and lots of dancing.

This talented cast was more than up to the task, with some embodying characters close to their own age and others channeling the spirit of eccentric Broadway stars, embattled parents, and other adults, such as the school principal (John Henry Lenzen ’26), who is an ally and source of support for Emma. The ensemble production, directed by Iacovelli and produced by Julia Auster-Hogan, with John Bower music directing, is ideal for a cast of this size, with ample opportunities for performers to stand out and give their characters life.

Phoebe Fogel ’24 and Andrew Ho ’25, starring in the show and also serving as DEI/GSA representatives for the production, acknowledged the need for a welcoming and inclusive space in the current social and political climate. “With all the anti-LGBTQ+ legislation being introduced around the country,” they wrote in a program note, “The Prom’s message is important to hear now more than ever.”

The talent wasn’t limited to those on stage: the musical score, moving among many genres (habanero to Godspell to swinging ’20s, depending on the dramatic needs of the characters), was expertly performed by the pit orchestra, which included many students and a few faculty members, led fearlessly by Bower.

The costumes, full of color, sequins, and “zazz,” were tailored perfectly to suit each character by costume designer extraordinaire Cathy Favreau, who also managed prop design. Ally Giebutowski’s Dee Dee Allen, ever the diva, has no fewer than seven distinct costumes throughout the course of the show.

The tech crew, led by Lily Burns ’24, ensured the show’s many transitions and scene changes flowed seamlessly throughout the production. The students also had an opportunity to showcase their own choreography as part of the show, with two numbers choreographed by students: the first was the work of Iacovelli’s Dance and Choreography class, and the second was created by dance captain Sarah DuBard ’25.

At Thursday’s “community night” performance of the show, with students, families, and members of the professional community all in attendance, the energy was palpable.

Later, Iacovelli said, “Seeing this group of students be so celebrated by their peers was incredible. We couldn’t be more proud of everyone putting their heart and souls on (and off!) the stage. It’s a labor of love for us all and is worth every second of work!”

To view a gallery of photos from The Prom, click here.

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