'Three Aussie Poofs In A Bloody Big Pink Bus' -The Reviews

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'Three Aussie Poofs In A Bloody Big Pink Bus' -The Reviews


Lets hope London theatre critics take this great big, feel good, show to their hearts!
SADM2 & CO- shake your groove thing and get those reviews on here asap!



Updated On: 3/23/09 at 06:17 AM
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I hope they're nice about it. I didn't like it at all but I think some nice reviews for a big new musical would give the West End a bit of a boost.
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I just wanted to say before the reviews ....

I cant help but think of the first time I saw this in October 2006 and the changes that have been made to the show since then. Theres not too many of us that would remember the original curtain for "I Will Survive" and fewer still that would recall the Mt Kosciuszko line but for those of us who do I think we should be really really proud of everyone who made "Priscilla" the show it is today and what London will see tonight. I adored the show before the dancing aborigines were replaced by tourists and I cannot wait to see what new changes have occurred for London. I hope they love it!!


"Of course, sometimes I get carried away"
Updated On: 3/23/09 at 07:39 AM
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Hear, hear Claire!
Chookahs and all the best for the little pink bus that could!
"I will join this conversation on the proviso that we stop bitching about people. Wigs, dresses, bust sizes, penises, nightclubs and bloody Kylie!" - Bernadette, Priscilla Queen of the Desert the Musical
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MamasDoin'Fine
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Are you guys up here?
Are you gonna get to see this new production?
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Mama, I would give my right arm to see it in London, just for the chance to see Tony again. Sadly I don't think I will get there, but I will be ordering a program and looking out for any sneaky way of hearing or seeing it re: 'Three Aussie Poofs In A Bloody Big Bus' -The Reviews.
My love for this production is very deep, and I miss it. But I am glad that it is about take over London and that it is being so well received!
"I will join this conversation on the proviso that we stop bitching about people. Wigs, dresses, bust sizes, penises, nightclubs and bloody Kylie!" - Bernadette, Priscilla Queen of the Desert the Musical
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We'll start a fund for your airfare mate!
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Khashoggi
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Hehe, me and all the other cast/crew/people that worked on the show here... :)
"I will join this conversation on the proviso that we stop bitching about people. Wigs, dresses, bust sizes, penises, nightclubs and bloody Kylie!" - Bernadette, Priscilla Queen of the Desert the Musical
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Ah bless you all.
It's horrible when you do a show and then see it move on.
There will be blood spilt if they dont like this show.
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I've hardly heard a bad word said about it yet, so fingers and feather boas are crossed!
"I will join this conversation on the proviso that we stop bitching about people. Wigs, dresses, bust sizes, penises, nightclubs and bloody Kylie!" - Bernadette, Priscilla Queen of the Desert the Musical
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I had the best of times last Fiday and will sleep little tonight in an-tic-ip-ation of seeing the Gala Celebrity performance tomorrow night!
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Im coming over in late April to see it... I was looking for an excuse for years to get to London and thankfully I found it in Priscilla and Tony Sheldon... I cant wait to see what they've done to it and to see Tony perform on the West End will be a huge thrill.
"Of course, sometimes I get carried away"
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Excuse me mama, but if you are starting a fund for needy Australian theatregoers to get to London for PRISCILLA I feel I should be at the top of the list.

Big "chookas"* for all involved with this piece of Australian musical theatre for both openings, with a little bit extra for one special individual in the cast.

* Are the board members familiar with this term?

Updated On: 3/23/09 at 10:42 AM
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Darling you've enough for an upgrade already!
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I think "chookas" is only an Aussie term.

alterego, do you know the history behind it?
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"Big "chookas"*

*Are the board members familiar with this term?"

I'm not Alterego but would welcome an explanation. re: 'Three Aussie Poofs In A Bloody Big Bus' -The Reviews
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Chookas ... from urbandictionary: "theatrical slang used mainly in Australia to wish performer good luck. Synonymous to "break a leg"."

I don't think there is a commonly accepted version of how it came into usage, but its a term frequently heard in theatre, opera, ballet and television in Oz.
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Thanks Oz.

I don't like using "Break A Leg" because I'm not superstitious, so it'll be chookas from me from now on.
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'Snap a Nail'
'Rip A Hem'
...all can be used to wish Priscilla good luck!
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Isn't there a weird British version of "break a leg" with something to do with mud in the face?

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I like 'break a leg' - never really got what it meant until i was watching a program on TV 'tother day and it said

that if you wished somebody to 'break a leg'..... you hope the audience asked for an encore because if they did -the "legs" which masked the wings would have to be "broken" to let the star back onto the stage!

Who'd thought something like that could come on that god awful alan titchmarsh show!
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Updated On: 3/23/09 at 06:58 PM
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you mean you're not a fan of his gardening tips Clark? re: 'Three Aussie Poofs In A Bloody Big Bus' -The Reviews

i always wondered where break a leg came from! well you learn something new everyday don't you!
"Rock Of Ages is about as original as gay men at a clap clinic" - SANDM2
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There are many different stories about the origins of "break a leg".

My favourite goes something like this: in Ancient Rome, gladiators were the victor if their opponent was slain or resigned. Wishing a gladiator to quasso cruris (literally break a leg in Latin) was to hope he crippled his opponent enough to make him resign.

Updated On: 3/23/09 at 07:39 PM
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Well here we go, i will get whatever i can up tonight before i go to bed

The Guardian - Negative with praise for the design and cast



The West End stage is currently filled with men in frocks. But, compared with the warmth and joie de vivre of La Cage aux Folles, this musical version of the famous 1994 Australian movie feels like a synthetic spectacle. A big hit in Oz, it is gaudy, garish and loud and seems to be as much about costumes as content.


Stephen Elliott, who wrote and directed the film, has co-authored the book with Allan Scott and has stuck to the original outline. Tick, a Sydney drag queen, accepts a gig in Alice Springs partly to see his wife and young son. He takes along for the ride a fellow "gender illusionist" Adam and the maturely transsexual Bernadette.

This odd trio traverse Australia in a battered bus and along the way encounter both outback hospitality and homophobia and discover their true selves. Tick learns to be a dad, Bernadette meets a lifelong mate, and even the unruly Adam tones down his flirty flamboyance.

The film had a good deal going for it: quaint charm, the Australian landscape, and a performance of amazing grace from Terence Stamp as the lonely Bernadette. But everything in the stage version is underscored and overstated. The gags have got cruder and camper, so that the bus now bears a sign saying "Rear Entry - Upon Request".

What the show is really about is spectacle; which, thanks to Brian Thomson's production design and the costumes of Tim Chappel and Lizzy Gardiner, is hurled across in bucketloads.

It's all eye-poppingly extravagant; but, in the last resort, there seems something defiantly tasteless about the fulfilment of a drag queens' dream to do a Kylie medley on top of the sacred Ayers Rock. Simon Phillips directs this kaleidoscopic extravaganza with martial skill.

Jason Donovan lends Tick the right air of paternal longing.

The highly experienced Tony Sheldon swishes and swirls expertly as Bernadette, and delivers his one-liners with aplomb - without ever capturing the quiet dignity on which Terence set his stamp. And Oliver Thornton brings out the callowness of the young Adam and mimes to Semper Libera from La Traviata with suitable gaiety.

Although the show is eventually about a father-son reunion, it never touches the heart. And, given the unexplored richness of Australian theatre, it is a pity that this artistically buoyant country should now be represented in the West End by this garish throwback in which camp is determinedly overpitched.
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The Times - Positive with

Let?s reassure those who recall the film of Priscilla, or helped to make it the cult it remains, that the stage version has everything, maybe more than everything, they could reasonably expect.

There?s the bus of the title, wheels turning, steel body swivelling, innards a weird mix of rainbow chairs and model flamingos.

There?s Jason Donovan as one of the three drag queens this lumbering contraption carries from Sydney to places where none have fluttered stoles or flaunted sequins before.

There?s energy, fun, tunefulness and, above all, the most outrageous swirl of costumes that I, who have seen La Cage aux Folles and even boggled at Ian McKellen?s Widow Twankey, have yet encountered.

Only one thing is missing, and that?s the desert of the title.

This is inevitable, given that the Palace stage is the size of a sandpit, but still a pity. The vast stony, scrubby vistas we saw in the film weren?t just decorative. The idea was to suggest that here was a pristine wilderness inhabited, if at all, by strange and exotic creatures.

In the Aussie Outback Donovan?s Tick, Oliver Thornton?s Felicia and Tony Sheldon?s Bernadette seem out of place, but are actually as much part of nature as the wildlife lurking and scurrying beside the road.

The film?s final moment, when all three stand above a huge canyon looking like dragonflies or gorgeous lizards, is quite a loss.

The story is pretty wishful. The reason Tick wants to perform in Alice Springs is to see the ex-wife and (especially) the small son whose existence there he?s hidden from his fellow gays, and, this being a feel-good show, his welcome isn?t exactly unenthusiastic.

Again, Sheldon?s transsexual Bernadette looks likely to end up up with the genial garage mechanic he met when the bus broke down, especially since the bloke has a mad wife who runs away.

But there?s unsentimental compensation in the picture the authors, Stephan Elliott and Allan Scott, draw of the drear communities the queens pass through.

A slob called Sharon, whose breasts are indistinguishable from her mammoth tum, tries to run them out of town.

Their bus gets plastered with obscenities.

Thornton?s Felicia, a bitchy maverick with a silly-ass titter, flirts with a macho Oz and needs rescuing from a beating. Homophobia is all around, but so is good humour and colour.

It?s those I?ll remember. The lead performances are fine.

If Sheldon hasn?t the sense of long-endured pain that Terence Stamp brought to Bernadette in the film, he?s still a humane, touching presence.

And at least when he?s in his paternal mode, Donovan also brings a little gravity and texture to a potentially bland character.

There are wisecracks galore (?we?ll be nothing but skin and silicone?, moans Tick after that desert breakdown) and songs you?ll recognise, starting with Downtown, ending in Always on My Mind.

And the queens? clothes come with every variety of feather, plant, stripe and lurid square, even a frock made of sandals.

Anenomes sprout from wigs like congealed sponges and, as if that weren?t enough, the chorus appears dressed as everything from angels to silvery spooks, in one case weirdly pushing a giant stiletto-heeled shoe.

The desert may not be visible ? but somehow it flowers
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