- The Prom, a musical based on a true story, has made its debut at the Teatro Theatre in Sydney.
- It’s a musical with a message – and strangely fitting for this venue.
- It’s big, bursting with energy and a story of our times.
There is something quietly extraordinary unfolding in Leichhardt, in Sydney’s Inner West. Tucked within the Italian Forum, the Teatro, a 300-seat theatre, is setting out to become one of Sydney’s most compelling new arts hubs.
The story behind Teatro is almost theatrical in itself. Co-founders Nathan M. Wright and Andrew Bevis, both deeply embedded in the performing arts world, took a leap of faith that many would consider improbable. They built a theatre from scratch with the help of friends, a bank loan and a community willing to back them.
Their first production, The Addams Family, was a success, setting a high bar for what this small but ambitious venue could achieve. With The Prom, they are setting an even higher bar. Tootsie, another premier, follows in May.
In many ways, the spirit of Teatro is inseparable from this production. Wright’s emotional speech on opening night underscored just how personal this venture has become. He spoke of the theatre as something that has “changed my whole life,” a sentiment that resonates throughout the venue. This is not just a performance space; it is a creative ecosystem.
Upstairs, rehearsal rooms hum with activity, including a full orchestra studio, while plans are already in motion to launch training programs that give young musicians the rare chance to learn how to perform in a pit. When Wright asks who in the chorus were part of the Teatro’s training courses, almost everyone puts up their hand.
The sense of community is huge. Wright and Bevis described a place where people drift in from all walks of life — students, creatives, even neighbours, many of whom have become part of the extended Teatro family. It’s a space where emerging artists are nurtured, where collaborators are celebrated, and where even the theatre dog has a role to play (yes, really).
That grassroots energy feeds directly into The Prom, giving the production an authenticity and warmth.
The musical itself arrives in Sydney with serious credentials. A Broadway hit, a Drama Desk Award winner and later adapted into a star-studded Netflix film, The Prom balances comedy with a socially relevant core. Inspired by real events, it tells the story of a high school student who simply wants to attend prom with her girlfriend, only to be blocked by her school and community because she is a lesbian. What follows is a clash between small-town values and big-city theatrics when four struggling Broadway performers descend on the town, hoping to turn controversy into career-saving publicity.
It’s a premise that could easily feel heavy-handed and uncomfortable. Under Andrew Bevis’s direction, with co-direction and choreography by Wright, the production strikes a confident balance between humour and heart. The show never loses its sense of fun, even as it explores themes of acceptance, identity and belonging.
At the centre of the performance is Caroline O’Connor as Dee Dee Allen. One of Australia’s most accomplished musical theatre performers, with credits spanning Broadway, the West End and beyond, O’Connor brings star power, precision and delicious comic timing to the role. Her Dee Dee is gloriously self-involved yet oddly endearing, anchoring the show with a performance that feels both polished and spontaneous.
“Why does being good cost so much money?” she laments as she hands over her Amex Black card to bankroll the school prom.
Sophie Montague delivers a standout performance as Emma, the student whose quiet courage drives the story. Her portrayal is sincere and grounded, providing the emotional core of the production. Thern Reynolds is a scene-stealer as Trent Oliver, embracing the character’s theatrical flamboyance with confidence and flair.
Brendan Monger’s Barry Glickman is another highlight, balancing humour with genuine poignancy, particularly as the character’s own past is revealed. With just 300 seats and an intimate venue, this powerful cast almost burst off the stage. The score by Matthew Sklar, with lyrics by Chad Beguelin, is bright, contemporary and filled with infectious numbers. Under the musical direction of Bev Kennedy, the production delivers a sound that is both tight and vibrant. Nathan M. Wright’s choreography is energetic and precise, giving the ensemble ample opportunity to shine while maintaining a strong narrative flow.
What makes this production particularly compelling is its alignment with Teatro’s broader mission. This is a theatre not just staging shows, but building careers for performers, musicians and creatives. Wright spoke passionately about initiatives like their emerging artist programs and future productions, including Tootsie, signalling that this is only the beginning of what Teatro aims to achieve.
The Prom is a show about inclusion, about creating space for voices that might otherwise be marginalised. Presenting it in a venue built on community, collaboration and opportunity feels right.
The production also arrives at a time when audiences are increasingly drawn to theatre that offers both entertainment and meaning. The Prom delivers on both fronts. It is funny, heartfelt and unapologetically joyful, yet deals with a tough subject.
In a city with no shortage of theatrical offerings, Teatro has managed to carve out something distinctive. It feels personal, immediate and alive — a place where stories are not just told, but shared.
With The Prom, Teatro doesn’t just present a major Australian premiere; it cements its place as one of Sydney’s most exciting new cultural spaces.
The Prom fact file
What: The Prom (Australian Premiere)
Where: Teatro at the Italian Forum, Norton Street, Leichhardt, Sydney
Season: Until April 26, 2026.
Performance Times: Wednesday–Thursday 7pm, Friday–Saturday 7.30pm, Saturday 2pm, Sunday 1pm and 6pm
Tickets: from $85 for remaining dates (plus $6.95 booking fee)
Bookings: www.teatroitalianforum.com.au
