Priscilla Slays Em In Toronto!

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Priscilla Slays Em In Toronto!#1
Posted: 10/28/10 at 6:19am
The reviews are in and they love her!


The Toronto Star:

'Toe-tapping honey of a show is no drag'
by Richard Ouzounian

**** (out of four)

Let's get one thing straight (although that might be an unfortunate choice
of word in this case): Priscilla Queen of the Desert the Musical, which
opened Tuesday night at the Princess of Wales Theatre is not a drag in any
sense of the word.

This eye-popping, ear-pleasing, toe-tapping honey of a show moves like a
cyclone from start to finish and will leave you gasping for breath on
numerous occasions, thanks to its spectacular spectacle, its raunchy humour
and its virtuoso performances.

But there's another way in which the show isn't a drag.

Although its three leading characters are men who dress as women (as are
most of the ensemble), the ultimate message you come away with is not one
about gayness, or cross-dressing, or any garden variety of sexuality.

The magic in Priscilla Queen of the Desert is that it tells the story of a
trio of individuals who have been cheated of love in this world and need to
find it desperately.

Bernadette is an aging transsexual, whose latest lover, a 25-year-old stud
named Trumpet, just choked on his peroxide fumes. But as played by the
inimitable Tony Sheldon, she emerges as a character of the greatest dignity.
She has the poise of Queen Elizabeth II, if only you could picture the
monarch with a gift for trash-talk and lip-synching.

And when she finally stumbles into love, your heart swells along with hers.
This is a performance of sheer brilliance, underplayed to perfection, with a
world of feeling and comic timing underneath.

Also doing first-rate work is Will Swenson as Tick, the one with a secret:
he was married once and had a child. In fact, he's leading his buddies
across the desert in the battered bus that gives the show its title, to get
to know his son better.

Swenson is totally masterful, showing us the campest of queens at one moment
and then a father with an aching heart the next. His wounded eyes are worth
the price of admission.

Then there's Nick Adams as Felicia, the wild young thing of the trio, with
his passionate devotion to Madonna, his vicious tongue and his
self-destructive ways. I've never seen a more dazzling smile on an actor and
the fact that he uses it to mask a character filled with massive self-doubt
makes it even more impressive.

One also must pause to praise C. David Johnson as Bob, the straightest of
straight men who finds a way to accept and even love this strange trio.
Johnson earned my undying respect when he calmly ad-libbed his way through a
technical snafu on opening night by saying "They spent a lot on the bus," to
thunderous laughter and applause.

The costume designs of Tim Chappel and Lizzy Gardiner are the other stars of
the evening, a never-ending display of colour, camp and humour, while the
direction of Simon Phillips and the choreography of Ross Coleman display
everyone in the best light.

Some people might argue that the show moves from an exclusively gay
perspective, but that's like saying Fiddler on the Roof is only for Jewish
audiences.

Priscilla Queen of the Desert the Musical is a grand, glorious and gorgeous
piece of musical theatre that will fill the heart of anyone who has ever
loved - or wanted to be loved.

**********************************************************************************

The Toronto Sun:

'Priscilla, Queen' musical is aces
by John Coulbourn

There are eight buses a week out of this town -- and you should be aboard
one of 'em.

We're not talking the Red Rocket or even Greyhound, however.

We're talking a bus named Priscilla, also known as the Queen of the Desert,
made famous in the hit movie that bore her name, as in Pricilla, Queen of
the Desert.

Now, she's back on the road, playing in musical theatre form, at the
Princess of Wales Theatre, where -- having conquered Australia and London's
West End -- she launched herself Tuesday on the road to Broadway. The
production sported enough glitz and feathers to re-upholster a decade worth
of Pride Parades, and more six packs than your local beer store.

Adapted by Stephan Elliott (who wrote and directed the movie) and producer
Allan Scott, Priscilla, Queen Of The Desert: The Musical is true to its
roots in much the same way as the old Classic Comics were to the novels that
inspired them -- which is to say, it hits all the high notes of the tale in
a highly visual way. Anyone expecting nuance or subtlety should know to
avoid drag shows, in much the same way they no doubt avoided Classic Comics.

Classic Comics, however, never came with soundtracks and it is the music in
this particular jukebox musical that fans are almost certain to enjoy -- a
medley of '80s hits from Madonna (Like a Virgin), Cindy Lauper (Girls Just
Wanna Have Fun), The Weather Girls (It's Raining Men), Gloria Gaynor (I Will
Survive) and Alicia Bridges (I Love the Night Life), with a bit of swing, a
bit of opera and a bit of country thrown in for good measure.

Some of it is lip-synched, performed by Jacqueline B. Arnold, Anastacia
McClesky and Ashley Spencer and mimed by drag queens determined to make it
their own, but a lot of it is actually sung as opposed to merely channelled.

For those unfamiliar with the turf, Priscilla tells the highly episodic
story of three drag queens -- Bernadette, an aging transsexual played by
Tony Sheldon; Tick, a reformed bisexual played by Will Swenson; and Adam, a
young gay Lothartio played by Nick Adams -- travelling across the Australian
Outback to Alice Springs in the bus of title. At the end of their trip,
there is a gig at the local casino, and a reunion between Tick and his young
son, conceived, it seems, back in the days when his gate swung both ways.

Bernadette, for her part, is grieving the loss of a lover, while Adam has
long had a fantasy involving a frock, a rock (in this case Uluru, formerly
known as Ayers Rock) and a -- well, we'll leave the rest to your
imagination.

Along the way, the trio encounters and fabulously faces down a few demons,
both personal and societal, with Priscilla playing inadvertent matchmaker
when she breaks down and requires the ministrations of a courtly mechanic
named Bob (C. David Johnson) who's about to make like a ping-pong ball and
bounce right out of his marriage.

Under the direction of Simon Phillips, with choreography by Ross Coleman,
this is the granddaddy of all drag shows, dressed up like its grandmammy,
thanks to the costumes of TimChappel and Lizzy Gardiner, who in the main
eschew the female impersonation of 'classic drag' in favour of a sort of
performance androgyny.

Reviewed here in preview, this is, not surprisingly, a show that delights in
the outrageous and the flouting of convention -- but it also remains oddly
chaste for all that, a nod perhaps to too tender middleclass sensibilities
that can ultimately make or break a musical like this.

All four of the principals thankfully prove to be very dab hands at fleshing
out sketchy characters, supported by a hardworking ensemble featuring
performers such as J. Elaine Marcos and Keala Settle, each of whom comes
close to stealing the showwith small but memorable turns.

Shiny as a zirconia sunburst, and deep as a dime, Priscilla turns theatrical
convention into theatrical confection at every turn -- a show that gives you
a good time but still makes you think you might want to take her home to
meet mama anyway.

Assuming, of course, that mama has a broad mind and a great sense of
humour -- or a very good pacemaker.
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Priscilla Slays Em In Toronto!#2
Posted: 10/28/10 at 2:37pm

'Priscilla Queen of the Desert'

Princess of Wales Theater, Toronto; 2,000 seats; C$130 ($126.25) top
by Richard Ouzounian

A Bette Midler, James L. Nederlander, Garry McQuinn, Liz Koops, Michael
Hamlyn, Allan Scott Prods., Roy Furman/Richard Willis, Terry Allen Kramer,
Terri and Timothy Childs, Ken Grenierm Ruth Hendel, Robert G. Bartner, Chugg
Entertainment, Michael Buckley, Stewart F. Lane/Bonnie Conley, Bruce Davy,
Thierry Suc/TS3, the Volcano Project, Paul Boskind and Martian
Entertainment/Spirtas-Mauro Prods./MAS Music Arts & Show and David Mirvish
in association with MGM On Stage presentation of a musical in two acts with
book by Stephan Elliott and Allan Scott. Directed by Simon Phillips.

Tick (Mitzi) - Will Swenson
Miss Understanding - Nathan Lee Graham
Marion - Jessica Phillips
Benjamin - Trek Buccino, Luke Mannikus
Farrah/Young Bernadette - Steve Schepis
Bernadette - Tony Sheldon
Adam (Felicia) - Nick Adams
Shirley - Keala Settle
Jimmy - James Brown III
Bob - C. David Johnson
Cynthia - J. Elaine Marcos
Frank - Mike McGowan

After performances in Australia and London, "Priscilla Queen of the Desert"
has put down roots in Toronto prior to its advance to Broadway this spring,
and the tuner version of the 1994 film arrives in very good shape indeed.
Light years superior to the London production in terms of production
standards, pacing (it's 30 minutes shorter) and the emotional honesty of the
leading players, this entry stands an excellent chance of an extended Gotham
life after a bit of nipping and tucking (which, of course, is requisite
treatment for any drag queen on the road).

The story centers on three outcasts from the drag scene in Sydney --
transsexual Bernadette (Tony Sheldon), bisexual Tick (Will Swenson) and
flamboyant Adam (Nick Adams) -- and how they board a bus to go looking for
love in the Australian Outback. Like the film, the tuner (which began in
2007) has always been an appealing clothesline on which to hang some
charming characterizations, extravagant costumes and an assortment of drag
routines. The entire score is made up of old disco favorites, with "It's
Raining Men" providing a snappy beginning and "I Will Survive" a rousing
first-act closer.

Those familiar with the film may be initially shocked, but eventually
delighted, at how slick and spectacular the routines have become, but
there's still a wonderful air of the rough-and-ready Oz drag tradition that
separates this show from the more genteel "La Cage aux Folles," for example.

Simon Phillips' direction keeps things moving along nicely, although the
show's initial sequences in a Sydney drag club take a while to get going and
should be trimmed. And the choreography by the late Ross Coleman (with an
uncredited assist, reportedly, from Jerry Mitchell) leaves no drag cliche
unturned.

The show, with book by Stephan Elliott (who wrote and directed the pic) and
Allan Scott, lets things remain raunchy, such as graphic descriptions of one
character's foreskin. There's no question the show has a gay perspective,
but the humanity of the personalities onstage lends it a near-universal
appeal.

Sheldon, who has played the grande dame Bernadette in every production,
combines dignity, drop-dead delivery and bittersweet vulnerability in a
character that could have been distasteful. Adams breaks out bigtime in the
role of Adam (aka Felicia), who dreams of singing a medley of Madonna's
songs in full drag on the top of Ayers Rock. Adams has a winning, ingenuous
face, which contrasts beautifully with his impossibly toned body and
trash-talk vocabulary.

The biggest surprise for New York audiences may be Swenson in the pivotal
role of Tick, who once upon a time was married and sired a child. Swenson,
who most recently impressed auds with his hyper-sexy Berger in "Hair," is
audaciously queeny in most of his musical numbers, but knows just how to
pull back to play the hurt and loss of a man who's been long separated from
his child. "Priscilla" is actually the story of his journey.

C. David Johnson rounds out the picture nicely as Bob, the super-butch
mechanic who comes to fix the bus and stays to fall in love; in a
scene-stealing turn as his wife, J. Elaine Marcos displays a real penchant
for launching ping-pong balls using inappropriate parts of her body.

The 320 costumes by Tim Chappel and Lizzy Gardiner (who won Oscars for the
'94 pic) display an inventive use of color and a wicked sense of humor, and
Brian Thomson's electrified bus makes the best of a bad situation: You need
to see the damn bus, but does it need to occupy so much stage space? Still,
the production as a whole looks spectacular, with every penny of the rumored
$15 million budget visible onstage.

The jukebox aspect of "Priscilla" is less annoying than in many other
similar entries, because the show knows when not to take it itself too
seriously. What initially seems a too-serious rendition of "MacArthur Park"
by Sheldon soon turns into a camp showstopper, with members of the chorus
dressed as the giant green cake someone left out in the rain, while Swenson
gyrates like Petter Allen at his most abandoned.

There are a few moments that slip into blatant sentimentality; the show
could do without some of the "dream" appearances of Tick's son in act one,
especially one involving bubbles. But at present, "Priscilla" is a visual
knockout, a real crowd-pleaser and, ultimately, a great heart-tugger as
well.

Musical direction, Jeffrey Klitz; music supervision and arrangements,
Stephen "Spud" Murphy; choreography, Ross Coleman; sets, Brian Thomson;
costumes, Tim Chappel, Lizzy Gardiner; lighting, Nick Schlieper; sound,
Jonathan Deans. Opened, reviewed Oct. 26, 2010. Runs through Jan. 2. Running
time: 2 HOURS, 20 MIN.

************************************************************************************

The Toronto Globe & Mail:

'This Priscilla rocks even though the bus doesn't roll'
by J. Kelly Nestruck

*** (out of four)

Priscilla just keeps on trucking. Australian Stephan Elliott transformed his
tale of two drag queens and a transsexual on a bus trip across the Outback
from a movie into a stage musical in 2006. After going over well Down Under
and on London's West End, Priscilla's party bus is now parked in Toronto on
an extended pit stop on the way to Broadway.

As with the film, the musical concerns Tick (Will Swenson), a drag queen who
performs under the name Mitzi Mitosis, leaving the safety of Sydney for a
gig in remote Alice Springs at the behest of his wife and their young son,
whom he has never met.

Yes, though he is a drag queen, Tick's precise sexual orientation is tricky.

"I am what I am," he says, quoting another, more earnest drag musical.

Tick brings along two friends: Transsexual Bernadette (a dignified Tony
Sheldon), who is mourning the death of her younger lover, Trumpet; and Adam,
aka Felicia (Nick Adams), a rich, spoiled and talented drag artist with more
muscles than a chorus line of Crocodile Hunters.

On their journey, Bernadette meets a melancholy mechanic (C. David Johnson),
while Adam gets a change to fulfill his dream of singing a Madonna medley
atop Ayers Rock. "That's just what this country needs: A****in a frock on
a rock," Bernadette says, in a line straight from the movie.

There's a reason why film has a whole road-trip genre, while theatre
doesn't. What's missing in Priscilla the musical from the 1994 cult movie
that inspired it are all those stunning outback visuals and the intriguing
juxtaposition of natural, forbidding landscapes with unnatural, licentious
drag queens. On Toronto's Princess of Wales stage in front of a boa-clad
audience, that visual tension is not there: Tick, Bernadette and Adam are in
their natural habitat, while the rural homophobes they encounter are the
ones who seem out of place.

Their giant bus - named Priscilla - may be a very high-tech contraption, but
no matter how much they primp this ride with fancy LED-technology, it can't
give the musical the same sense of motion as the movie. Hogging
centre-stage, it's a flop of a prop.

What more than makes up for that is the sensational super-sizing of the
costumes from the Oscar-winning team of Tim Chappel and Lizzy Gardiner. In
the surreal numbers that keep breaking out, there are dancing paint brushes,
a crass menagerie of kooky koalas and kangaroos, and a baking sheet of
cupcakes which twirl to, for the most tenuous of reasons, a discoed-up
MacArthur Park.

These costumes are more déclassé Disney than drag, but in the shows within
the show, there is an interesting mix of drag. In a flashback, we see a
younger Bernadette descending a staircase lip-synching to the Jerome Kern
and Dorothy Fields number A Fine Romance, accompanied by a flock of
pink-clad showgirls in tall ostrich-feather headdresses.

Back in the present day, Adam performs a more sexual performance in which he
sings as well as lip-synchs. He first appears dressed as Marilyn Monroe
singing Madonna's Material Girl. Ross Coleman's choreography here begins
with an homage to the Diamonds Are a Girl's Best Friend number from
Gentlemen Prefer Blondes, then turns into a raunchier romp with Adam leading
several men around on leashes.

Other moments of visual ingenuity include wigs that turn into pom-poms and
dresses that turn into puppets. The score includes a pinch of opera and
country, but mostly it's repurposed dance hits, from It's Raining Men to I
Will Survive to Hot Stuff, either sung by the characters or by a floating
trio of high-haired divas (Jacqueline B. Arnold, Anastacia McCleskey and
Ashley Spencer).

Priscilla tries very hard to create a fun, party atmosphere for its
audience. Sometimes it tries too hard - as when confetti is fired out over
the audience before the hero(ines) have even left Sydney - but mostly it
succeeds in director Simon Phillips's exuberant production.

As for tone, Priscilla tries to have it both ways - to be risqué and safe.
There are plenty of rippling male torsos and innuendo-filled jokes (notably
one about a foreskin and a double-stuffed Oreo), but at the same time there
isn't so much as a single man-on-man peck. Likewise, the script's sometimes
misanthropic sense of humour (as in the callous funeral for Trumpet) clashes
with the sticky-sweet sentimentality of Tick's reunion with his son. "The
moment I wake up, before I put on my makeup, I say a little prayer for you,"
Tick sings, slipping into a little Burt Bacharach, while his young son
Benjamin (Luke Mannikus, alternating with Trek Buccino) walks by blowing
bubbles.

It's a testament to Swenson's skilled acting that he eventual makes Tick's
misgivings about being a father who dresses up in women's clothing connect
with our hearts. There may be a lot of wishful thinking here, but there's no
denying that Priscilla is infectious, giddy entertainment.
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Priscilla Slays Em In Toronto!#2
Posted: 10/28/10 at 5:13pm
If it gets this kind of review in New York, what are it's chances at the Tony?
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Priscilla Slays Em In Toronto!#3
Posted: 10/28/10 at 5:14pm
Everything Everything!
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Priscilla Slays Em In Toronto!#4
Posted: 10/28/10 at 6:09pm
I am sooooooo happy for Priscilla's success in Toronto; such a great launch pad for its Broadway debut. Am especially happy for the peerless Tony Sheldon who deserves the shows success more than anyone Priscilla Slays Em In Toronto!). See you in NY!!
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Priscilla Slays Em In Toronto!#5
Posted: 10/28/10 at 6:15pm
Paul, these reviews are just the beginning - hopefully! xxx
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Priscilla Slays Em In Toronto!#6
Posted: 10/29/10 at 2:45am
Someone who should get a mention in these reviews is Andrew Hallsworth who took over as choreographer and has been around adapting the original work of Ross Coleman since the beginning. Something of a unsung hero sadly.
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Priscilla Slays Em In Toronto!#7
Posted: 10/29/10 at 6:22am
True
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Priscilla Slays Em In Toronto!#8
Posted: 10/29/10 at 6:22am
True
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Priscilla Slays Em In Toronto!#9
Posted: 10/29/10 at 7:05am
New York likes to eat more substantial food than candy-floss!!

Toronto does not really get big theatre, so when they have a big production they lap it up, New York will be different when they realise the show does not have substance especially now they cut the best song from it.
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Priscilla Slays Em In Toronto!#10
Posted: 10/29/10 at 7:34am
You are SOOOOO wrong about Toronto. You need to do a bit of research!
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Priscilla Slays Em In Toronto!#11
Posted: 10/29/10 at 7:58am
Toronto gets amazing theatre and has had some seriously successful large scale sit down productions. Research things you don't know about...
Shows seen in 2011: Rock of Ages (WE, Shaftesbury Theatre - 7 Oct), Jersey Boys (WE, Prince Edward Theatre - 1 Sep), Cirque du Soleil: Zarkana (Broadway, Radio City Music Hall - 26 Aug), RENT (Broadway, New World Stages - 25 Aug), Hair (Broadway, St. James Theatre - 24 Aug), The Book of Mormon (Broadway *WON LOTTO*, Eugene O'Neill Theatre - 24 Aug), Dress Circle Benefit Gala (WE, Her Majesty's Theatre - 7 Aug), Derren Brown: Svengali (WE, Shaftesbury Theatre - 6 July), Lend me a Tenor the Musical (WE, Gielgud Theatre - 3 June), Lord of the Flies (WE, Open Air Theatre in Regent's Park - 2 June), In a Forest Dark and Deep (WE, Vaudeville Theatre - 31 May), Jersey Boys (WE, Prince Edward Theatre - 28 May), The Umbrellas of Cherbourg (WE, Gielgud Theatre - 2 May), Priscilla Queen of the Desert (WE, Palace Theatre - 29 Apr), Les Miserables (WE, Queens Theatre - 20 Apr), Thrill me (WE, Tristan Bates Theatre - 14 Apr), Ghost the Musical (Manchester, Opera House - 13 Apr), Million Dollar Quartere (WE, Noel Coward Theatre - 5 Apr), The Lion King (WE, Lyceum Theatre - 16 Mar), The Exonerated (WE, Charing Cross Theatre - 15 Mar), The Children's Hour (WE, Comedy Theatre - 14 Mar), Clybourne Park (WE, Wyndhams Theatre - 12 Mar), Company (WE, Southwark Playhouse - 12 Mar), The 25th annual putnam county spelling bee (WE, Donmar - 2 March), Jersey Boys (WE, Prince Edward Theatre - 11 Feb), Million Dollar Quartet (WE, Noel Coward - 9 Feb), Love Story (WE, Duchess Theatre - 7 Feb), Lance Horne:First things last (WE, Garrick Theatre - 30 Jan), La Boheme (WE, Soho Theatre - 29 Jan), Legally Blonde (WE, Savoy Theatre - 10.Jan)
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Priscilla Slays Em In Toronto!#12
Posted: 10/29/10 at 8:00am
A taster....
'Ragtime'
'Show Boat'
'Kiss Of The Spider Woman'
.........................
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Priscilla Slays Em In Toronto!#13
Posted: 10/29/10 at 8:36am
And, I know it wasn't pre-Broadway but the Toronto production of Phantom is one of it's most succesful.
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Priscilla Slays Em In Toronto!#14
Posted: 10/29/10 at 8:45am
Im pretty sure the Toronto 'Phantom' was the longest running outside London and New York.
The Toronto production of 'Crazy For You' was nothing short of stunning.
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Priscilla Slays Em In Toronto!#15
Posted: 10/29/10 at 9:20am
10 years... I wouldn't be surprised.

It was also the best, Colm Wilkinson...
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Priscilla Slays Em In Toronto!#16
Posted: 10/29/10 at 8:47pm
I'm shocked to hear Toronto doesn't have big heater. Sure, it doesn't have big theather SCENE. But Toronto has the best theater venues. I've seen Broadway and West End....they both have crappy theaters (perhaps too old), esp last year, when I saw Pricilla in London...what an aweful theater (seat design wise). Toronto has great theaters such as Princess of Wales, Canon, Elgin and North York Centre...
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Priscilla Slays Em In Toronto!#17
Posted: 10/29/10 at 9:35pm
Toronto has some of the worlds most gorgeous theatres,
The Winter Garden (this sits on top of the Elgin!)
The Elgin Theatre
The Canon
The Royal Alexandra
The Princess Of Wales
The Hummingbird Centre
...........and so many more (Blue Man Group have their own theatre too!)

It is a glorious city of theatre!
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Priscilla Slays Em In Toronto!#18
Posted: 10/29/10 at 9:35pm
Toronto has some of the worlds most gorgeous theatres,
The Winter Garden (this sits on top of the Elgin!)
The Elgin Theatre
The Canon
The Royal Alexandra
The Princess Of Wales
The Hummingbird Centre
...........and so many more (Blue Man Group have their own theatre too!)

It is a glorious city of theatre!
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Priscilla Slays Em In Toronto!#19
Posted: 10/29/10 at 10:00pm
I'm in the dark. What song was cut?
Any other major changes besides It's Raining Men?
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Priscilla Slays Em In Toronto!#20
Posted: 10/30/10 at 4:53am
There have been a few changes. One of the main ones is to replace Kylie with Madonna. Apparantly the show is also much slicker, about 30 mins shorter than in London.

The song lie up for Toronto is apparantly

Act 1
It's Raining Men
What's love Got to Do With It?
I Say a Little Prayer For You
Don't Leave Me This Way
Material Girl
Go West
Holiday/Like A Virgin
I Say a Little Prayer (reprise)
I Love the Nightlife
True Colours
Sempre Libre
Colour My World
I will Survive

Act 2
Thank God I'm a country Boy
A Fine Romance
Country Boy (reprise)
Shake Your Groove Thing
Pop Muzik
A fine Romance(reprise)
Girls Just Wanna Have Fun
Hot Stuff
MacArthur Park
Boogie Wonderland
Always on My Mind
Like a Prayer
We Belong
Finally/Medley



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Priscilla Slays Em In Toronto!#21
Posted: 10/30/10 at 1:35pm
Apart from changing the Kylie references to Madonna (for obvious reasons), the biggest change in the score seems to be replacing Both Sides Now with True Colours. I loved Both Sides Now, especially for the raw emotions the three leads brought to it in London, so it'll be intriguing to see how True Colours works in that particular scene.

Great reviews so far - very very happy for all those involved! Priscilla Slays Em In Toronto!
Seen some shows in my time....
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MamasDoin'Fine
Broadway Legend
joined:9/28/08
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Priscilla Slays Em In Toronto!#22
Posted: 10/30/10 at 2:45pm
Hey Tigs, hows it going girl? Looks like our baby is gonna be big across the pond!
See you there!!
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TIGGOSAURUS
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Priscilla Slays Em In Toronto!#23
Posted: 10/30/10 at 3:01pm
Hey Mama, hope you're in fine fettle. Priscilla Slays Em In Toronto! I'm not long back from a week in sunny Spain, just starting to make my plans for NYC next year. Can't wait to be back on board the big pink bus -not to mention loads of other shows I'm dying to see.

Very excited - it's been too long!
Seen some shows in my time....
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Priscilla Slays Em In Toronto!#24
Posted: 10/30/10 at 7:28pm
Phantom of London, here's a short list of major productions to have had major productions in Toronto:

LES MISERABLES starring Louise Pitre - 1989-1990 Canadian Production
PHANTOM OF THE OPERA starring Colm Wilkinson & Rebecca Caine - 1989-1999 Canadian Production
KISS OF THE SPIDER WOMAN starring Chita Rivera, Brent Carver and Anthony Crivello - 1992 World Premiere
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT starring Donny Osmond - 1992 North American Premiere
MISS SAIGON starring Ma-Anne Dionisio & Kevin Gray - 1993-1995 Canadian Production
CRAZY FOR YOU starring Ruthie Henshall & Mickey Rooney - 1993-1995 Canadian Production
SHOW BOAT directed by Harold Prince, starring Elaine Stritch, Robert Morse, John McMartin, Rebecca Luker, Hugh Panaro - 1993-1994 World Premiere Production
BEAUTY AND THE BEAST starring Kerry Butler - 1995-1997 Canadian Production
SUNSET BLVD starring Diahann Caroll, Rex Smith & Walter Charles - 1995 Canadian Production
THE WHO'S TOMMY - 1995 Canadian Production
RAGTIME starring Brian Stokes Mitchell, Audra McDonald, Rebecca Luker, Lea Michele - 1996 World Premiere Production
JANE EYRE starring Anthony Crivello - 1996 World Premiere Production
RENT - 1997-1998 Canadian Production
FOSSE - 1998 World Premiere Production
THE LION KING - 2000-2003 Canadian Production
MAMMA MIA! - 2000-2005 North American Premiere Production
THE PRODUCERS - 2004 Canadian Production
HAIRSPRAY - 2004 Canadian Production
LORD OF THE RINGS - 2006 World Premiere Production
WE WILL ROCK YOU - 2007-2009 Canadian Production
JERSEY BOYS - 2008-2010 Canadian Production
DIRTY DANCING - 2008-2009 North American Premiere
THE SOUND OF MUSIC - 2008-2009 North American Premiere of the Lloyd Webber production
ROCK OF AGES - 2010-2011 Canadian Production
PRISCILLA QUEEN OF THE DESERT - 2010 North American Premiere

Except for JOSEPH, these were not tours and were all productions that actually played lengthy runs in Toronto.
Updated On: 10/30/10 at 07:28 PM