PRISCILLA Reviews- Page 4

[Broadwayboobs]

Posted: 3/21/11 at 3:42pm

It seems Stamp was happy with Tony Sheldon's portrayal of Bernadette...

http://www.life.com/image/72089419

[PalJoey]

Posted: 3/21/11 at 4:21pm

Sweet.

[RagtimeRay]

Posted: 3/21/11 at 6:16pm

Here's my review of PRISCILLA:

It’s raining men at the Palace Theatre, where PRISCILLA, QUEEN OF THE DESERT opened Sunday. Let’s hope their reign lasts a long time, because I can’t wait to see it again!

I went to the March 19th final preview performance with high expectations, usually an invitation to disappointment, but instead enjoyed the show even more than I’d hoped. I wore such a big smile for most of the show that by the end of the evening my face hurt. The marketing tagline for Priscilla is, “A Journey to the Heart of Fabulous.” That’s exactly what it is.

The JOURNEY: Tick (played by Will Swenson) – Mitzi in his drag persona – gets a call from his estranged wife with whom he has a six year old son. The son wants to meet his father, and his wife offers the opportunity for him to perform at her casino in remote Alice Springs, Australia. Tick asks Bernadette (Tony Sheldon), a transsexual, to join him, since Bernadette’s lover “Trumpet” has just died, and the trip might just give her the diversion she needs. The young, cock-sure Adam/Felicia (Nick Adams) rounds out the trio. Adam’s mother bankrolls the purchase of a beat-up bus, christened Priscilla, in which the trio make their journey.

It’s too easy to summarize this show as a tale of three drag queens as they travel across remote parts of Australia. A Hope/Crosby Road show it isn’t. (Under 40? Google it.) In many ways, it’s more like a fish-out-of-water story with the men leaving the safety of the tolerant—if not totally accepting city—for a trip through backwaters of outright hostility. After their bus breaks down, and they encounter derision from the locals, they find the words “F*CK You Faggots” spray painted on their bus—the hateful words provoked silence from the audience and brought home the point of the “slings and arrows” these gay drag queens have had to endure. While in another scene, an aboriginal character welcomes their talents. Why? Is it just to impress the local tourists, or can he also identify with a life subject to so much prejudice?

The HEART: Every one of the leads finds a way to mask his emotional insecurity, only instead of masks; it’s more like they wear sequin encrusted suits of armor. The musical comedy format doesn’t permit as deep an exploration of characters as a play, but over two and one-half hours, through a surprisingly strong book, we come to appreciate the hopes, fears and joys of each of the principals. Tick has the most obvious angst. He hasn’t even shared with his friends the news that he has a wife, let alone a son. Bernadette looks back on her life, more aware of how age brings limitations, and hopeful that she can still find love. Adam, the fun seeker, is seemingly fearless, but uses caustic humor to keep his emotional distance even from his friends. Adam’s attack by a group of thugs, and subsequent catharsis with Bernadette is one of the most heart- wrenching moments in the show.

The FABULOUS: In two words: Tony Sheldon. He inhabited Bernadette, with perfection in every gesture and comedic timing that could serve as a master class. Sheldon’s performance seemed iconic to me. Like Carol Channing’s when she first did Dolly Levi, Joel Grey as George M. Cohan, Angela Lansbury as Mrs. Lovett, or Harvey Fierstein as Edna Turnblad. If there is any justice in this world, the man will leave NYC with a Tony award in his suitcase.

Then there are the divas, frequently suspended over the stage and giving voice (for lip-synching) or as part of the back-up chorus. Props to C. David Johnson for his sensitive portrayal of Bob, to J. Elaine Marcos (Bob’s mail-order bride) for her creative use of ping pong balls (you have to be there), to Keala Settle for a rendition of “I Love the Nightlife” that I’ll never forget. They are all part of a multi-talented cast of twenty-seven performers.

Have I mentioned how fabulous the costumes are? Tim Chappel & Lizzy Gardner re-created their Academy Award winning designs for the Broadway stage. Where else on Broadway can you see dancing paint brushes and cupcakes? Or a replica of the Sydney Opera House crafted from hoop skirts?

The music is great too—hit tunes from the 70’s and 80’s—that have been worked into the jukebox score for PRISCILLA; And then, to add a bit of class to the proceedings there’s that 1853 classic hit, “Sempre Libre” from Verdi’s La Traviata, which includes the line (English translation): “Happily I turn to the new delights that make my spirit soar.”

I’ve been going to Broadway shows for almost 45 years, and I can’t remember when I’ve had more fun in the theatre. So get yourself a ticket to PRISCILLA, QUEEN OF THE DESERT, and let your spirits soar!

[Broadwayboobs]

Posted: 3/21/11 at 6:22pm

RR...BRAVO!

[fitz2]

Posted: 3/21/11 at 6:34pm

So Musical Theatre Review xx

[kadu335]

Posted: 3/21/11 at 7:41pm

Stage Grade has 20 reviews up. The median grade is B+ (9 A's, 8 B's, 2 C's and 1 D)... Are they missing any reviews?

Updated On: 3/21/11 at 07:41 PM

[groucho797]

Posted: 3/21/11 at 11:36pm

The handful of reviews that popped out have completely missed the mark. Priscilla is a HOWLINGLY funny show, though possibly not a homophobe's cup of tea. There are two kinds of drag queens; the first kind attempts realism, the other kind is just outrageous and nearly satirical. This show falls into the latter camp, but it does it with gleeful, over-the-top madness. What makes it so enjoyable is that the jokes are nearly non-stop - it's more like a Tex Avery cartoon than anything else. The cast was clearly having a ball camping it up, the production values were both brilliant and hysterically tacky, and the audience was devouring every line. Maybe the legit reviewers have become jaded by the Spiderman (and Addams Family) debacles, but this show clearly doesn't care what reviewers think. I loved it!

[LimelightMike]

Posted: 3/22/11 at 3:09am

Without going too far into boring the hell out of you guys, I saw the show tonight (3/21) -- as many of you know. Suffice it to say, my 'fear' of being plucked from the house and pulled onstage didn't get anywhere beyond this message board, haha! Usually, I love that crap, but I'm not comfortable enough a dancer these days. I sat C-ORCH, A-2, and for 2.5 hours, I was absolutely swept-up by the magic of this Aussie-inspired tuner. After finally coming down from the high, I can attest to it being one of the most visually captivating pieces I've ever seen. The costuming alone is reason enough to go. And, that bus: Sweet Jesus! Swenson, Sheldon and Adams are a trio in top form, and truly deliver something wonderful to behold. As did EVERYONE else up there. Kudos to cast and crew, all the way around! It'll have you laughing one minute, and getting choked-up the next. Reeking of infectious tunes, heart and hilarity, making for one heckova night out!