Netflix's THE PROM Reviews & Reactions — Page 12

Someone in a Tree2 said: "Why anyone would care about my review weeks after the premiere, I'll never know, but--

I'm frankly astonished by the parade of raves here on BWW. Well okay, I can stand alone here.Ifound the film nearly unwatchablybad. An endless stream of cliches about Broadway immediately followed by an endless streamof cliches about the Midwest. Dreadfully clunky lines spoken by appalling versions of Broadway grotesques or Indianan bigots. By my count, Andrew Ranells was the ONLY adult who could actually sing a song. And funny how they had to delete all of DeeDee's lines about belting since obviously Meryl sure couldn't.

Thank goodness for the kids-- Jo Ellen Pellman really is a star and every minute with her onscreen was a show I wanted to Iive in. The highschoolkids could reallysing and dance -- but Lordy, what lousy songs they were forced to sing. The staging was as witless as an episode of Glee and the design --hoo boy-- maybe the design was the very worst thing about this lousy package. Eye-searing colors emanating fromevery wall, outfit or lighting fixture completed destroyed the production designer's one explicit task, to make a distinction between the world of Broadway and the world of the Midwest. Here everything was AMBER! CYAN!! PURPLE!!! in a grotesque anti-rainbow that made the screen endlessly unwatchable.

Worst of all, here was ourchance to prove to all of America that a true original Broadway musical wasn't a joke, or an embarrassment, or a waste of time, but rathera thingof beauty and value and grace. And boy did we blow it big time.









"who cares about your review and has everyone become a critic these days lol

one thing is that Jo Ellen Pellman is a star in the making...Ryan Murphy knows how to find unknowns and develop their careers. Watch for her! We found it to be a lot of fun to watch with a great cast and very watchable....period! You found it unwatchably? LOL

---

Finally ^ someone who saw the same show I did. Was starting to wonder where all the discerning voices on BWW went?

I watched this a few days ago, and what I find most interesting is that the score is completely forgettable. I can not remember or hum one song.

Enjoyed it. Saw the stage show in June 2019 and enjoyed it well enough - not among the favorites I’ve seen the last few years but certainly not near the bottom. Corden couldn’t fill Brooks shoes, but seemed fine in the role to me. The other headliners were good-to-great. Jo Ellen Pellman was great... some of her lyrics sounded lip synced over the original Caitlin Kinnunen track. Ariana DeBose was great but it was a struggle not seeing her dance until short glimpses at the end. I also really enjoyed Izzy McCalla on stage and wasn’t ready to welcome new cast into a show so fresh in my mind. Loved seeing Andrew Rannels and Kerry Washington amd others though.

My expectations weren’t terribly high, but even so they were met if not exceeded which made for a fun enough two hours on a Sunday night.

studio108 said: "This may be an unpopular opinion and my apologies to any Meryl Streep fans in advance.Hervoice sounded the best it has in her career...impossibly so. Every other movie musical I've seen her in made me long for a stronger singer in the role. But not this time. Is it even possible at her age (71) to finally be coming into her own as a singer?

Here comes the unpopular part... and I have no proof of this, but it's the only thing that makes sense: has the technology of tuning and fattening vocalsjust gotten so good and so undetectable that it can turn a mediocre singer into a diva? That said, every performance for the past 25 years,recordedor filmed, has been fixed to some degree. Nicole Kidman's singing voice inMoulin Rouge owes a great deal to the technology,but at least you knew it was there. Meryl Streep's voice in this moviestruck me as a bituncanny. It's far better than it should be, and I'm not sure how I feel about that. Then again, since she never has to sing live anyway, does it even matter?"

While there is surely some fine-tuning going on in the studio, there has to be a basis for it somewhere. If her vocals were as heavily altered as some people are implying, why wouldn't they do that for literally anyone else who comes across badly in movie musicals? Emma Watson was only a few years ago. I feel like every time Meryl has sung in a movie since Mamma Mia, the resounding sentiment seems to be "She sounds shockingly great." But how long can something continue to be surprising? People even have to cook up Donna Murphy conspiracy theories to explain why someone is a good singer (when Donna sounded nothing like Meryl in the role).

I'm not saying she could play DeeDee on stage with the same vocal consistency, but she is clearly a versatile vocalist. And she hasn't spent her entire career belting night after night, so her voice is likely better preserved than a lot of her Broadway contemporaries.