Priscilla Queen of the Desert the Musical

Here's a first look at the star: the bus!
YouTube.com: Let Me Introduce You to Priscilla

Elvira Kurt's video interview with the Priscilla stars, including clips from the preview numbers performed for the press.

Shocked when Nick Adams said he had "heard" of the movie, but hadn't actually seen it when the opportunity for the role came up. What are they teaching kids in gay school these days, anyways? The Adventures of Priscilla, Queen of the Desert should be mandatory viewing.

http://www.xtra.ca/public/National/First_taste_of_Priscilla_Queen_of_the_Desert_musical-9214.aspx

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I'd be more than willing to share my bed with Will Swenson free of charge.

Went to the first preview on Tuesday night. My observations:

Priscilla Queen of the Desert is a musical-comedy romp in the Mamma Mia vein--only a thousand times gayer. And just as Mamma Mia audiences leap to their feet to sing the reprise of "Dancing Queen" at the end of the show, the opening night preview audience at Priscilla lept to their feet to sing the reprise of "I Will Survive." It's that kind of show.

Based on the 1994 film, Priscilla brings the fabulous styles (the flip-flp dress, the lizard costume) and piercing Aussie accents to the stage. The music runs the gamut from rousing gay pride parade-type standards ("It's Raining Men," "Girls Just Wanna Have Fun", "Go West") to a maudlin rendition of "True Colors." But what the stage version lacks is the heart that makes the film both touching and funny. While it IS entertaining, there's not a lot of depth.

Will Swenson seems slightly miscast as the main character of Tick, who leads his confreres across the desert in a bus ostensibly to perform a drag show, but in reality to be reunited with his young son (from a--gasp!--straight marriage). Alas, I couldn't quite buy Swenson as his flamboyant drag queen alter ego Mitzi, nor did I find his manly Tick all that emotionally compelling. Vocally, he was not that strong, either. What he, and the character need, is more drama--both the emotional and the queenly kind.

Tony Sheldon (Bernadette) comes across as an old pro, and indeed he's a veteran of both the Australian and West End productions of Priscilla. I have no problems with his performance, though I was neither surpised nor truly moved by it, either.

Adam/Felicia is the perfect role for Nick Adams--truly, all his, um, assets are on full display. Imbuing Adam/Felicia with vanity and the imperviousness of youth, he just needs to sharpen the character's humor, mischieviousness, and grating/annoying quality. Clearly a showy role, Swenson's Tick (who should be the main characer) seems dim in comparison. Though not distinctive, Nick's voice was the strongest of the leads. And he's a solid dancer--and clearly very flexible.

The audience (which had more gay men than Saturday night at Woody's, not to mention some real live drag queens--one of whom kindly removed her wig so as not to impede the view of the people behind her--what courtesy!) ate up the show. They laughed at the opening strains of "I Say A Little Prayer" and clearly knew the movie well--laughing at first appearance of Cynthia (J. Elaine Marcos), Bob's (C. David Johnson) crazy Asian mail-order bride. Beware the ping pong balls! Some of the jokes come straight out of the movie; others are new. I don't think that people who haven't seen the movie will be at a disadvantage--and might even benefit by not knowing the punch lines in advance.

The (female, singing) divas (who are frequently seen hanging on a wire above the stage) were fine, as was the orchestra/band, and the ensemble was very good--notably the petite, plus-sized Keala Settle, who played a variety of funny roles and the fierce Nathan Lee Graham as Miss Understanding.

The costumes were truly specacular. Particularly fantabulous was Trumpet's funeral, which begins with a tableaux of guests (recalling the Ascot scene in My Fair Lady) dressed in outrageous Alexander McQueen-meets-Lady Gaga-type funeral finery. They then proceed to sing "Don't Leave Me This Way," one of many disco hits in the show, including "Hot Stuff", "MacArthur Park," "Shake Your Grove Thing" and "Boogie Wonderland." For the North American adaptation, Kylie Minogue songs were replaced with Madonna songs, such as "Material Girl," "Holiday," and "Like A Prayer."

Despite the complexity of the show, it doesn't appear any major changes are required, only a sharpening of the lead performances and fixing of some timing issues (the actors need to pause after some of the bigger jokes as the dialog was being drowned out by laughter). While curmudgeons will shudder, those that like to wave rainbow flags on Pride Day (or wear feather boas to the theatre--as some did) will have a blast. Opening night is October 26th.

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Going tonight. Very Excited!

Can't go into details right now but just wanted to say WHAT A BLAST!!! Had so much fun and the show is gonna do gangbusters here AND in New York.
Sorry to disagree canmark, but I found Tony Sheldon to be key to the whole tone of the show- goofy disco queen when required but alot more poignant when coming to realize a chance for love again. The "Les Girls" flashback was especially touching as well as pretty spectacular as a set piece of bygone glamour. More latter . MWAH!

Thanks for all the reviews everyone! Now I'm even more excited! I will be going on Wednesday. I got a ticket for an early performance so that I could give myself time to go several more times during the run here in Toronto. I was already assuming I was going to love it. Looking forward to it! Can't wait!

Mostly Orchestra aisle seats but as TO audiences are often stage sruck they had a leetle challenge getting 'em up on stage. So if u don't want to go, they usually find someone else ( tho some were jumping over others for the chance.

A fair bit- coffee cups w the logo. key chains w logo, boas, a reusable bag w Let's go shopping girls" on it, tee shirts w the logo, some shoe thingys, a couple of camo hats w the name Priscilla ( in olive & pink camo) and the CD of the original Australian cast.( got confused cos it says now playing Palace Theatre London) It's going to disappoint some people that a large numer of songs were changed for North America so I can only presume a new CD will be recorded for Broadway.

Updated On: 10/16/10 at 12:12 AM

Re: celebrities joining the producing team after a show is "done"

I think that celebrities do this not (entirely) so they can make money and not because they want to be creatively involved (in which case they would have joined the production in development), but so they can help promote a show that they think sends an important message--and they know that their celebrity can help get more people to see the show.

For example, Oprah Winfrey and Tyler Perry became executive producers of Precious after the movie had premiered at Sundance. But their celebrity contributed to the widespread popularity of the film (not to mention that it was a terrific film), particularly to an audience that they were able to reach.

Similarly, Elton John's stamp on the gay-themed play Next Fall or the Smiths/Jay-Z involvement in Fela! would help promote the shows to the gay and African-American communities. Although how much actual promoting they did (as opposed to just their name) is debatable.

Bette Midler, with her icon status in the gay community, and her own flamboyant show style, seems well-suited to produce/promote Priscilla. I mean, she can get invited to Regis and Kelly in her own right--and I'm sure she'll be there promoting Priscilla. That's something that other producers (like David Mirvish) can't do. Mirvish can't promote Priscilla on talk shows or in entertainment/gay publications the way Bette can. And that makes her a good addition to the team.

And I think this is no different than when we, ordinary people, spread the word about a show we like by posting on message boards, tweeting, Facebook-ing, telling our friends. Even though I make no money from it, I'm happy to talk about good plays, movies, musicals or whatever because I want them to succeed. And I think celebrities want the same thing.

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Updated On: 10/17/10 at 11:13 AM

I saw the show this past Saturday. At the end of the show, I walked right out the doors, and right to the box office to buy an additional pair of tickets to see it again.
It was just so much fun....I only wish Jessica Phillips had a larger role, because she is fantastic....The energy was fantastic, and everyone looked like they were having a great time, and I was greatful I got a ping pong ball!

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The Princess of Wales theatre is actually a lot smaller than you'd think it would be. I find it feels a lot smaller than it looks in the photos. The Dress Circle and Balcony aren't really that far back. By the looks of the seating chart, the Dress Circle starts over top of about Row G. I sat in the second row of the Dress Circle awhile back and it was a good view of the entire stage. I've only been up on that level a couple of times but I don't think there is really a bad sight line in the theatre. I've never sat in the side seats on the Dress Circle or Balcony levels so I'm not sure what the view is like. You might lose a bit on the side view, not sure. Maybe someone else here can tell you. The theatre isn't really that old and I think it was designed and built to have good view lines from anywhere.

I snagged a ticket to the opening night on Tuesday in the first row of the balcony on the far outside, so I'll let you know if how the view is from up there (I've never sat in the blacony of the POW before). I would warn against the back rows of the orchestra or dress circle, though, as the overhang from dress circle/balcony may impede your view of the space above the stage (where the divas are sometimes hanging, where the giant shoe on top of the bus appears, and there's a disco ball haning from the ceiling of the theatre). I've not sat in those seats myself, but I usually roam around theatres during intermission checking out sightlines.

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