BWW Reviews: PRISCILLA Is Anything But a Drag

I never thought I'd see the day where a bus and truck company would actually put their bus on stage. The national tour of Priscilla Queen of the Desert is here to delight Austin audiences through May 12th, and there must be a RuPaul's Drag Race contestant somewhere out there who is completely out of glitter and sequins. This is one production that does everything it can to entertain and please the audience. Though it may be light on plot (at times It makes Mamma Mia look like Les Miserables), the lavishly flamboyant look and feel more than make up for any shortcomings. Priscilla is a campy, overblown, over the top, jeweled showgirl of a musical. Even Cher might suggest that the show could tone it down a bit. She'd be wrong. The zanier the show gets, the more the audience eats it up.

The Aussie import with a book by Stephan Elliott and Allan Scott and direction by Simon Philips (based upon the Broadway direction by David Hyslop) closely follows the plot of the cult classic film The Adventures of Priscilla, Queen of the Desert. The show is above all else a jukebox musical about three drag queen friends traversing the Australian outback in a pink bus dubbed Priscilla. Though Elliott and Scott's script is full of funny one-liners and sight gags, it's a bit light on character development. Though the film is equally amusing, it also succeeds at finding universal, relatable qualities in the three leads and therefore makes the point that gays and drag queens are no different than anyone else. The stage version rarely even makes such an attempt. Instead, the book focuses on what makes these characters different, unique, and dare I say fabulous as it simultaneously tries to squeeze in over 20 pop and disco hits. While there are moments where it would be nice to see a bit more thoughtful treatment of the characters, the choice to instead play up the camp and fun is an understandable one that pays off tremendously.

While the character development may be lacking, the three leads work wonders with what they've got, and the fact that all three possess incredible singing voices is just icing on the glittery cake. Scott Willis plays Bernadette, the transgendered former showgirl, with a classy air and a strong dose of sardonic wit. As Adam, the arrogant, pretty one of the bunch, BRyan West is a thrill to watch. The boy's got a set of pipes and, like his character, seems to relish in being the center of attention. His take on Madonna's "Material Girl" is an early showstopper of the evening. And as Tick, the ringleader of the group, Wade McCollum is fantastic. In the film, Tick (played by Hugo Weaving) comes off a bit quiet, dull, and wooden, allowing the character to get quickly and easily overshadowed by his companions. But McCollum's Tick is instead a commanding and likeable presence with personality to spare. His animated performance during "McArthur Park" brings down the house, and unlike Weaving, McCollum is gorgeous both in and out of drag.

The star quality of the cast extends to the ensemble as well. This has to be one of the most enthusiastic, lively, and attractive touring companies on the road. They're all stellar performers, particularly those who get cameo roles like Babs Rubenstein as a drunken homophobe and Chelsea Zeno as a woman who knows an unconventional way to use ping pong balls. The trio of divas (Emily Afton, Bre Jackson, and Brit West) who belt out disco hits while suspended over the action are also a treat to watch, and the orchestra led by Brent Frederick is absolutely brilliant.

As is fitting of a show about drag queens, the creative team clearly cares about showcasing a feast for the eyes. Though most of the set by Brian Thomson is a bit on the flat side, it's serviceable and really makes the bus pop. Thomson's bus, a large, spinning, LED-light covered behemoth, is the crowning achievement of his set design. The lighting by Nick Schlieper and Jonathan Spencer is full of life, color, and energy. And the costumes, by Tim Chappell and Lizzy Gardiner (the same team behind the film's Oscar winning costumes) are outrageous and imaginative. From drag Muppets to a dress made out of flip flops to gigantic cupcakes to gowns inspired by both Marie Antoinette and the Sydney Opera House, each costume is better, bigger, and bolder than the last.

The only weak link on the team is choreographer Ross Coleman. Though the design work is incredibly detailed and complex, Coleman's choreography is, with a few exceptions, fairly drab and pedestrian. Granted, dancing in gigantic heels and excessively opulent costumes is tough, but it is possible. If you don't think so, do a YouTube search for videos of Cher, Beyonce, or either revival of La Cage Aux Folles. There's really no excuse for the overuse of Zigfield struts, box steps, and grape vines.

Though its book and choreography leave a bit to be desired, overall Priscilla is a polished, sparkling gem of a show. What it lacks in emotional depth is more than made up for in spectacle, and I'd be surprised if audience members don't immediately dust off their Donna Summer albums upon returning home. This Priscilla is a Queen well deserving of her crown.

Photo: Wade McCollum (center) and Company in "MacArthur Park" - photo by © Joan Marcus

NOTE: Recommended for mature audiences.

Running time: 2 hours and 35 minutes, including one 15 minute intermission.

PRISCILLA QUEEN OF THE DESERT plays Bass Concert Hall at 2350 Robert Dedman Dr, Austin, TX 78712 now thru May 12th. Performances are 8pm Wednesday thru Saturday and 7pm Sunday with matinee performances at 2pm on Saturday and 1pm on Sunday. Tickets are $30-$83. For tickets and information, please visit austin.broadway.com