Priscilla Queen of the Desert
The Musical
Palace Theatre
New York, NY
Based on Stephan Elliott and Allan Scott’s 1994 film, The Adventures of Priscilla, Queen of the Desert, there is the germ of a storyline. While working in Sydney, drag queen, Tick aka Mitzi (Will Swenson), hears from his ex-wife, Marion (Jessica Phillips), that their son, Benji wants his dad to visit. Benji and Marion live in Alice Springs, across the Australian Outback. Although Tick/Mitzi is not comfortable in his Dad role, he finally agrees to go. He coerces Bernadette (Tony Sheldon), a past-her-prime transsexual, and Adam/Felicia (Nick Adams), a hyperkinetic up-and-comer, to come along. Their transportation is an old bus that they name Priscilla and later paint pink with the help of some sparkly dancing paint brushes.
Oh, girl, the troubles they have: bitchy squabbling; the bus breaking down in the middle of the Outback; hick towns; tough, unwelcoming barflies; and fights. However, they meet mechanic Bob (C. David Johnson), who falls for Bernadette, leaves his ditsy wife and joins the road trip. Of course, they finally reach Alice Springs.
Through it all comes one outlandishly designed musical spot after another. Most are lip-synched, but some disco tunes are performed live by the Divas: Jacqueline B. Arnold, Anastacia McCleskey, Ashley Spencer. Lavishly semi-clad chorus boys whirl in flamboyantly choreographed dances. There is a gauzy Follies-like memory segment with Bernadette, both now and in her heyday, backed by a chorus of Les Girls singing “A Fine Romance” (yes, the Jerome Kern/Dorothy Fields song). In another, dancers wearing large, cupcake costumes glide around the bus to “MacArthur Park” after Bernadette and Bob “left the cake out in the rain.” (Note: Magnolia Bakery is now selling “Priscilla” cupcakes.) One evening, as everyone is sleeping, a giant glittering platform stiletto on top of the bus delivers Adam/Felicia lip-synching to “Sempre Libre” as feathery Divas float down from the rafters.
It’s an exhausting performance by Will Swenson, Nick Adams and Australian veteran actor, Tony Sheldon. Sheldon alone gives his character depth and believability, plus some snappy zingers. Adams is rarely more than campy and Swenson, when not singing, seems oddly uncomfortable. The slight storyline of Tick and Benji leads to a reunion too flimsily predictable to be heartwarming. Tick’s “Always on My Mind” with Benji’s “I Say a Little Prayer” should be plaintive, but fall flat. Ashton Woerz, however, gives a winsome portrayal of Benji. (Nick Mannikus alternates at other performances.)
The dizzying extravagance is created by production designer Brian Thomson and costume designers Tim Chappel and Lizzy Gardiner. The bus swivels, opening on one side to display the three travelers amongst their finery. Jerry Mitchell was faithful to the disco/old movie choreography by the late Ross Coleman. The many musical numbers are highlighted by Nick Schlieper's colored lighting, and Jonathan Dean and Peter Fitzgerald generously let everyone hear the pounding music at impressive decibel levels.
Fun? Not as much as you’d think. In this performance, there was no jumping to the feet, no sing or clap-alongs for what should be energizing dance tunes by Donna Summer, Madonna, Cyndi Lauper and other disco queens. Even the audience participation opener for Act II, “Thank God I’m a Country Boy,” did not give the expected jolt of enthusiasm. It’s a three-ring circus of feathers, fringe and platform shoes, but the emotion is left on the movie screen and after the overdose of confetti and disco balls, this particular dance has ended. Ironically, this is not to say that Priscilla won’t enjoy a healthy run.
(Pictured: Will Swenson, Tony Sheldon, Nick Adams. Photo by Joan Marcus)
Elizabeth Ahlfors
Cabaret Scenes
March 21, 2011
www.cabaretscenes.org