Glitz-tech Musical is Big on Show, but Short on Substance By Lauren Yarger
A disco ball reflecting a swirl of lights with loud '70s music isn’t only the opening for the show, it’s the theme for the whole production, supervised by Jerry Mitchell and directed by Simon Phillips in a glitzy, bright Broadway stage version of the cult film “Priscilla Queen of the Desert.”
The explosion of color and sensory-attacking flashiness travels from the campy bus and set (Brian Thompson, bus concept and production design), to sparkle in the sure-to-be-Tony-nominated ’70s-era transvestite showgirl costumes (Tim Chappell and Lizzy Gardiner, design) -- there’s pink, lots of pink -- and to flash in the lights (Nick Schlieper, design)which never seem to dim. While it’s visually stimulating to say the least, it’s a bit of overkill, probably in an effort to keep us from noticing that there is little else happening in the rather weak book by Stephan Elliott and Allan Scott.
There are some good elements in the production. The score is comprised of popular songs from the time period played by a wonderfully full sounding orchestra under the supervision of Stephen “Spud” Murphy. His fine arrangements stand out and give new depth and meaning to lyrics when they show up in context to non-traditional action in the show. Choreography by Ross Coleman including good sounding flying divas (Jacqueline B. Arnold, Anastacia McCleskey and Ashley Spencer) are on equal footing with some standout performances in minor roles by Keala Settle as rather “butch” Shirley whom our threesome meet in a bar and Nathan Lee Graham, who does a fun Tina Turner impersonation.
So if watching a bunch of guys dress up and dance around in outrageous female garb (there’s even an opera piece) is your cup of tea, you’ll undoubtedly enjoy this show. For the rest of us, however, all of elements combine to make Priscilla an enjoyable romp, but aren’t enough to disguise the weak plot and give us a real reason to spend two and a half hours watching people croon while sitting in large oversized, sequined platform shoe on top of the bus, for example.
The story follows two transvestites, Tick/Mitzi (Will Swenson), Adam/Felicia (Nick Adams) and a transsexual, recently-widowed Bernadette (Tony Sheldon), who travel in a bus they name Priscilla Queen of the Desert on their way to do a show at the Alice Springs, Australia night club run by Tick’s wife Marion (Jessica Phillips). The gig is more than a much needed job: Tick apparently left his wife years ago to embrace his feminine identity. He hides the marriage from Adam and Bernadette as well as his fears about meeting the son he left behind, 6-year-old Benji (Luke Mannikus and Ashton Woerz), who doesn’t know that his “show business” father impersonates women for a living.
Along the way, they meet various people, most of whom are hostile to the men’s lifestyle choices. An exception is Bob (C. David Johnson) who comes to their aid when Adam is attacked in the "he-man-type" bar where he goes looking for love. Dissatisfied with his mail-order-bride, Cynthia (J. Elaine Marcos), despite the fact that she can perform sexual tricks with ping pong balls, Bob hops aboard Priscilla to join the trio on their journey and eventually enjoys romance with Bernadette.
The plot often seems contrived to serve as a vehicle for a transvestite fest. It is unrealistic at times, with both Marion and Benji perfectly fine (and politically correct) in their total acceptance of Tick and his life choices. Would Adam really go to a homophobe type bar looking for love? It plays like a predictable plot device more than a poignant moment that could be used to promote understanding and give the story some depth.
On the other hand, by treating everything with a lighter touch, the show never takes itself very seriously, which allows us enjoy all of its outrageous glitz, whether that means laughing at the silly costumes and wigs, enjoying a funny rendition of “MacArthur Park” or clapping along at the great “get-’em-back-after-intermission” number of “Thank God I’m a Country Boy.”
Priscilla plays at the Palace Theatre, 1564 Broadway, NYC. Discounted tickets are available at http://www.givenik.com/show_info.php/Masterworks/280/individual
The explosion of color and sensory-attacking flashiness travels from the campy bus and set (Brian Thompson, bus concept and production design), to sparkle in the sure-to-be-Tony-nominated ’70s-era transvestite showgirl costumes (Tim Chappell and Lizzy Gardiner, design) -- there’s pink, lots of pink -- and to flash in the lights (Nick Schlieper, design)which never seem to dim. While it’s visually stimulating to say the least, it’s a bit of overkill, probably in an effort to keep us from noticing that there is little else happening in the rather weak book by Stephan Elliott and Allan Scott.
There are some good elements in the production. The score is comprised of popular songs from the time period played by a wonderfully full sounding orchestra under the supervision of Stephen “Spud” Murphy. His fine arrangements stand out and give new depth and meaning to lyrics when they show up in context to non-traditional action in the show. Choreography by Ross Coleman including good sounding flying divas (Jacqueline B. Arnold, Anastacia McCleskey and Ashley Spencer) are on equal footing with some standout performances in minor roles by Keala Settle as rather “butch” Shirley whom our threesome meet in a bar and Nathan Lee Graham, who does a fun Tina Turner impersonation.
So if watching a bunch of guys dress up and dance around in outrageous female garb (there’s even an opera piece) is your cup of tea, you’ll undoubtedly enjoy this show. For the rest of us, however, all of elements combine to make Priscilla an enjoyable romp, but aren’t enough to disguise the weak plot and give us a real reason to spend two and a half hours watching people croon while sitting in large oversized, sequined platform shoe on top of the bus, for example.
The story follows two transvestites, Tick/Mitzi (Will Swenson), Adam/Felicia (Nick Adams) and a transsexual, recently-widowed Bernadette (Tony Sheldon), who travel in a bus they name Priscilla Queen of the Desert on their way to do a show at the Alice Springs, Australia night club run by Tick’s wife Marion (Jessica Phillips). The gig is more than a much needed job: Tick apparently left his wife years ago to embrace his feminine identity. He hides the marriage from Adam and Bernadette as well as his fears about meeting the son he left behind, 6-year-old Benji (Luke Mannikus and Ashton Woerz), who doesn’t know that his “show business” father impersonates women for a living.
Along the way, they meet various people, most of whom are hostile to the men’s lifestyle choices. An exception is Bob (C. David Johnson) who comes to their aid when Adam is attacked in the "he-man-type" bar where he goes looking for love. Dissatisfied with his mail-order-bride, Cynthia (J. Elaine Marcos), despite the fact that she can perform sexual tricks with ping pong balls, Bob hops aboard Priscilla to join the trio on their journey and eventually enjoys romance with Bernadette.
The plot often seems contrived to serve as a vehicle for a transvestite fest. It is unrealistic at times, with both Marion and Benji perfectly fine (and politically correct) in their total acceptance of Tick and his life choices. Would Adam really go to a homophobe type bar looking for love? It plays like a predictable plot device more than a poignant moment that could be used to promote understanding and give the story some depth.
On the other hand, by treating everything with a lighter touch, the show never takes itself very seriously, which allows us enjoy all of its outrageous glitz, whether that means laughing at the silly costumes and wigs, enjoying a funny rendition of “MacArthur Park” or clapping along at the great “get-’em-back-after-intermission” number of “Thank God I’m a Country Boy.”
Priscilla plays at the Palace Theatre, 1564 Broadway, NYC. Discounted tickets are available at http://www.givenik.com/show_info.php/Masterworks/280/individual
Christians might also like to know:
Show posts a Mature advisory
Language
Sexual dialogue
Sexually suggestive moves (the ping pong sexual trick goes way too far in my opinion)
Scantily-clad actors
Obviously, cross dressing/transgender
Show posts a Mature advisory
Language
Sexual dialogue
Sexually suggestive moves (the ping pong sexual trick goes way too far in my opinion)
Scantily-clad actors
Obviously, cross dressing/transgender
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