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 Priscilla - Queen of the DesertPalace Theatre, West End, Greater London
Synopsis
Sydney drag queen Mitzi and her two fish-out-water friends, Felicia and Bernadette, are heading west across the desert to Alice Springs in their battered old bus. They are each on their own personal journey of discovery, but together they put on a show unlike anything the locals have ever seen before. The musical is fashioned around disco hits including I Love the Night Life, I Will Survive, Shake Your Grove Thing and Finally. Based on the Oscar-winning film.
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Review Round-up: Priscilla’s Drag Queens ReignDate: 24 March 2009 Move over La Cage aux Folles, there's a new cross-dressing troupe in town. Priscilla Queen of the Desert the Musical pulled into the West End’s Palace Theatre last night (23 March 2009, previews from 10 March, gala opening 24 March), starring Jason Donovan, Oliver Thornton and Tony Sheldon as three fish-out-of-water friends heading across Australia in their eponymous pink bus. Adapted from the 1994 Oscar-winning cult film which starred Hugo Weaving, Guy Pearce and Terence Stamp, Priscilla Queen of the Desert the Musical had its world premiere in Sydney in October 2006. Original cast member Tony Sheldon makes his West End debut as transsexual Bernadette, who together with drag queens Mitzi (Donovan) and Felicia (Adam) embarks on a journey of discovery across the Australian outback. The soundtrack features a host of dance-floor classics including "I Love the Nightlife", "I Will Survive", “Go West”, "Finally", “Don’t Leave Me This Way”, “Hot Stuff”, “Girls Just Wanna Have Fun” and a Kylie Minogue medley. The stage musical has a book by Allan Scott and Stephan Elliot (writer/director of the film). It’s directed by Simon Phillips, choreographed by Ross Coleman and designed by Brian Thomson (who also conceived the on-stage bus), with costumes by Tim Chappel and Lizzy Gardiner, lighting by Nick Schlieper, sound by Michael Waters and make-up by Cassie Hanlon. All-told, Priscilla fared better with overnight critics than many of its 'jukebox musical' forebears, though there’s no real consensus, with star ratings from two up to five adorning this morning's papers. Critics generally fall into one of two 'camps': those who welcomed the show’s “loud, lewd and lavish” attitude, and those who viewed it as an overly “synthetic spectacle”. There was general agreement when it came to the performances of the leads, particularly with regards to the “touching presence” of Tony Sheldon as Bernadette, and Jason Donovan who, if slightly “underpowered” for some, brings the “right air of paternal longing” to Mitzi/Tick. But the real star of the show for most is Lizzy Gardiner and Tim Chappel's elaborate costumes – described by The Times’ Benedict Nightingale as “the most outrageous … I have yet encountered”.
Michael Coveney on Whatsonstage.com (two stars) - “Simon Phillips’ production poses various logistical questions, such as: how do they cope with 500 costumes, and who dealt with the copyright minefield of songs ranging from Burt Bacharach and Hal David’s 'I Say a Little Prayer' and Joni Mitchell’s 'Both Sides Now' through to gay disco perennials like 'I Will Survive' and 'Macarthur Park' with its cake left out in the rain? … It flaunts its gayness in an old-fashioned, one might say provincial, manner. Maybe crudity doesn’t matter in a stage full of unashamedly over-the-top frocks, tall wigs and pouting divas. For my money, the divine girl trio – Zoe Birkett, Kate Gillespie and Emma Lindars - are the best things in the show, descending from the heavens like baroque opera queens.” Nicholas de Jongh in the Evening Standard (four stars) - “At a time when escapist musicals are all the rage, here’s a rare one that takes you happily out of yourself and into daring places your wildest fantasies might never have dreamed of visiting. Priscilla Queen of the Desert the Musical should, therefore, do an absolutely roaring trade, and not just among the young and gay-friendly … From the first moments when three divas hang suspended high above a silver-spangled bridge and belt out 'Downtown', the show never loses its spectacular, helter-skelter momentum of songs to which the drag queens lip-sync. They all dance to Ross Coleman’s pugnacious choreography in an ever wilder outrage of costumes, right down to ridiculous belle époque corseted dresses and hats variously piled heavy with fruit, flowers and feathers: Simon Phillips’ production artfully exploits the fact that drag queenery relies on excess and exaggeration.” Michael Billington in the Guardian (two stars) - “The West End stage is currently filled with men in frocks. But, compared with the warmth and joie de vivre of La Cage aux Folles, this musical version of the famous 1994 Australian movie feels like a synthetic spectacle … The film had a good deal going for it: quaint charm, the Australian landscape, and a performance of amazing grace from Terence Stamp as the lonely Bernadette. But everything in the stage version is underscored and overstated ... Jason Donovan lends Tick the right air of paternal longing. The highly experienced Tony Sheldon swishes and swirls expertly as Bernadette, and delivers his one-liners with aplomb - without ever capturing the quiet dignity on which Terence set his stamp. And Oliver Thornton brings out the callowness of the young Adam and mimes to ‘Semper Libera’ from La Traviata with suitable gaiety.” Benedict Nightingale in The Times - “Let’s reassure those who recall the film of Priscilla, or helped to make it the cult it remains, that the stage version has everything, maybe more than everything, they could reasonably expect … There’s energy, fun, tunefulness and, above all, the most outrageous swirl of costumes that I ... have yet encountered. The lead performances are fine. If Sheldon hasn’t the sense of long-endured pain that Terence Stamp brought to Bernadette in the film, he’s still a humane, touching presence. And at least when he’s in his paternal mode, Donovan also brings a little gravity and texture to a potentially bland character.” Charles Spencer in the Daily Telegraph (four stars) - "Those who like their musicals tasteful, subtle, and preferably written by Stephen Sondheim and directed by Trevor Nunn should give this wildly entertaining new import from Australia a wide berth. It makes Mamma Mia! seem like something by Chekhov ... At the Palace Theatre, I’m delighted to report, an insanely euphoric and wildly contagious vulgarity prevails. It’s ten times more enjoyable than the screen version ... Simon Phillips’ production has a driving energy and a palpable mission to delight; the costumes and wigs are almost insanely over the top and feature so many feathers one begins to fear for the survival of the ostrich as a species; even the bus Priscilla is an ingeniously mechanised and cunningly designed delight." Simon Edge in the Daily Express (five stars) - “Some of the jokes are as corny as Fray Bentos beef and, this being Australian humour, nobody gives a XXXX about polite language. Kanako Nakano’s show-stopping turn as a Thai bride doing unspeakable things with ping-pong balls is a benchmark for the level of humour: it really isn’t Oscar Wilde. But all wrapped up as a shiny, pink-bowed package, this sumptuously dressed show works gloriously, with its wigtastic parade of ever more jaw-dropping costumes an utter feast for the eye. Loud, lewd and lavish, it’s about as subtle as a smack in the teeth with a didgeridoo, but who cares when it’s this much fun?” - by Theo Bosanquet
Priscilla Queen of the DesertVenue: Palace TheatreWhere: West End Date Reviewed: 24 March 2009 WOS Rating:  Average Reader Rating: Reader Reviews: View and add to our user reviewsMaybe they should have ditched the travelogue element of the cult 1994 Australian movie The Adventures of Priscilla Queen of the Desert and just come inside for a floor show. Because that’s what Priscilla Queen of the Desert the Musical is, really, despite the climactic ambition of performing a Kylie Minogue medley on top of Ayers Rock and an underpowered Jason Donovan as Tick meeting up with his wife and little boy having explored his feminine side on the journey from Sydney to Alice Springs. The travelling road show also stars Tony Sheldon as the ageing trans-sexual Bernadette (played more touchingly in the movie by Terence Stamp) and Oliver Thornton as the “gender illusionist” Adam (Guy Pearce on screen). We start “downtown” in the shadow of a glittering Sydney Harbour bridge, moving on to meet a collection of rednecks, tourists, country bumpkins and a token aboriginal in face-paint as well as an unhappily married garage mechanic, Bob (Clive Carter), who downs tools and joins the merry-go-round; he also finds true love. Simon Phillips’ production poses various logistical questions, such as: how do they cope with 500 costumes, and who dealt with the copyright minefield of songs ranging from Burt Bacharach and Hal David’s “I Say a Little Prayer” and Joni Mitchell’s “Both Sides Now” through to gay disco perennials like “I Will Survive” and “Macarthur Park” with its cake left out in the rain? Hitting one dud spot in the back of beyond, Bernadette wryly declares: “If you were going to give the world an enema, then we’ve found the point of entry,” which is an indication of the tone of the book by Stephan Elliott (who wrote and directed the movie) and Allan Scott. It flaunts its gayness in an old-fashioned, one might say provincial, manner. Maybe crudity doesn’t matter in a stage full of unashamedly over-the-top frocks, tall wigs and pouting divas. For my money, the divine girl trio – Zoe Birkett, Kate Gillespie and Emma Lindars - are the best things in the show, descending from the heavens like baroque opera queens every now and then. The design is by Australian theatre legend Brian Thomson – his titular bus is a triumph of chameleon colours and interior variations, transformed after a spot of outback graffiti care of some neon-painting – the costumes are by Tim Chappel and Lizzy Gardiner, and the task of matching karaoke soundtrack to the miniscule live band falls to musical director Richard Beadle. - Michael Coveney | Score | Comment | Date |  | At the end of a difficult few weeks, I really looked forward to seeing this show again.
At Fridays performance we had Craig Ryder on for Jason Donovan as Tick/Mitzi. He gave a competent if unremarkable performance. Oliver Thornton as Felicia/Adam was a litle underpowered vocally but was as wonderfully camp and brash as ever. The excellent Tony Sheldon as Bernadette once again led the way with a superb performance that touched all emotions.
The ensemble were on great form and the show once again delivered a great dose of feelgood fun. It should be prescribed on the NHS :-) I will be back again! - Paul Wallis | 01 Nov 09 | | THE best thing ive seen on the west end. Anyone with a sense of humor and opne mind will undoubtedly have a brilliant time. Ive seen it 3 times, and am going again this week. Yes its camp, the jokes are crude, and the songs arent originals...but that just makes the show, and who cares when you have the AMAZING cast and talent that you will find upon seeing this show. DEFINITLY worthy of 5 stars, and would recommend to anyone! - emily | 25 Oct 09 | | amaazzing musical. GReat tunes and fab coostumes :) IF YOU DIDNT ENJOY IT YOU MUST BE REALLLY OLD OR REALLLY BORRIING and you need to get out more. - Benney L | 25 Sep 09 | | Fantastic uplifting feel good show. Oliver plays the part of Adam fantastically. The bonus...he has a body to die for!!!! - Jues T | 28 Aug 09 | | This show is HOT and I'm not talking about the temperature in the theatre - boy does this theatre need air con! Yet again I loved this show, a real feel good treat. Excellent performances all round led by the exemplary Tony Sheldon. Great, great fun - Paul Wallis | 28 Jun 09 | | I didn't review this show after my first visit 10 weeks ago; it wouldn't have been fair given the appalling Grand Circle front row seats, resulting in a much restricted view and body contortions which eventually sent me to stand at the back! Well, it doesn't have the charm or poignancy of the film, but it's certainly a spectacle. If you go for a tonic from relentless news about the credit crunch and MP's on the make, and don't set your theatrical expectations too high. you'll have a ball. The bus and the costumes alone are worth the ticket price. It's clearly become a party destination - girls and gays night out - which creates a great atmosphere, but at the expense of good sound; with the volume turned up to the point of muddiness. The cheers greeting the Thai bride's entrance suggest a significant chunk of the audience have been before, confirming the party destination theory. A lot of fun! - Gareth James | 14 Jun 09 | | loved this show so much going again with a big group, and Les cage aux folles is great, thank goodness graham norton left, it was just graham norton in a wig.
- Mikey | 05 Jun 09 | | One of the joys of the West End is seeing Waiting for Godot and then Priscilla Queen of the Desert 48 hours later. Much to my surprise it was Godot which I found more enjoyable. I can't quite work out why Priscilla didn't work for me, although my mood wasn't helped by the appallingly inconsiderate behaviour of the morons in the row in front of us. All the ingredients for a great night are in place - costumes, lights, already familiar songs and enthusiastic performances, including one of high quality from Tony Sheldon. I think the problem was that I couldn't engage with the tediously narcisistic characters and the plodding lack of real interest to the story; Unlike La Cage there is no warmth betwen the principals. Most of the audience seemed to be having a great time but it felt like being a stranger at a fancy dress party.
Postscript: Having listened to the CD it's clear I just wasn't in a good enough mood on the night so perhaps Priscilla deserves another visit.
- David Baxter | 31 May 09 | | Fantastic show, it was bright, camp, colourful, foot tapping, enjoyable, fun, entertaining and much more besides. A brilliant evening's entertainment. - Anna | 19 May 09 | | Brilliant show well worth a second visit or in my case third. Cast are fantastic amazing energy very camp but I don't think the show would be as good if it didn't have the fabulous Tony Sheldon as Bernadette he really makes the show. The divas also have amazing vocals and the ensemble are among the hardest working in the West End at the moment. Watch out for Danielle Coombe playing Shirley the Landlady hilarious. - Trumpet | 15 May 09 | | | Click here for more user reviews and to post your own |
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