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Synopsis Sydney drag queen Mitzi and her two fish-out-water friends, Felicia and Bernadette, are heading west across the desert to Alice Springs in their battered old bus. They are each on their own personal journey of discovery, but together they put on a show unlike anything the locals have ever seen before. The musical is fashioned around disco hits including I Love the Night Life, I Will Survive, Shake Your Grove Thing and Finally. Based on the Oscar-winning film.
Adapted from the 1994 Oscar-winning cult film which starred Hugo Weaving, Guy Pearce and Terence Stamp, Priscilla Queen of the Desert the Musical had its world premiere in Sydney in October 2006. Original cast member Tony Sheldon makes his West End debut as transsexual Bernadette, who together with drag queens Mitzi (Donovan) and Felicia (Adam) embarks on a journey of discovery across the Australian outback.
The soundtrack features a host of dance-floor classics including "I Love the Nightlife", "I Will Survive", “Go West”, "Finally", “Don’t Leave Me This Way”, “Hot Stuff”, “Girls Just Wanna Have Fun” and a Kylie Minogue medley.
The stage musical has a book by Allan Scott and Stephan Elliot (writer/director of the film). It’s directed by Simon Phillips, choreographed by Ross Coleman and designed by Brian Thomson (who also conceived the on-stage bus), with costumes by Tim Chappel and Lizzy Gardiner, lighting by Nick Schlieper, sound by Michael Waters and make-up by Cassie Hanlon.
All-told, Priscilla fared better with overnight critics than many of its 'jukebox musical' forebears, though there’s no real consensus, with star ratings from two up to five adorning this morning's papers. Critics generally fall into one of two 'camps': those who welcomed the show’s “loud, lewd and lavish” attitude, and those who viewed it as an overly “synthetic spectacle”. There was general agreement when it came to the performances of the leads, particularly with regards to the “touching presence” of Tony Sheldon as Bernadette, and Jason Donovan who, if slightly “underpowered” for some, brings the “right air of paternal longing” to Mitzi/Tick. But the real star of the show for most is Lizzy Gardiner and Tim Chappel's elaborate costumes – described by The Times’ Benedict Nightingale as “the most outrageous … I have yet encountered”.
Michael Coveney on Whatsonstage.com (two stars) - “Simon Phillips’ production poses various logistical questions, such as: how do they cope with 500 costumes, and who dealt with the copyright minefield of songs ranging from Burt Bacharach and Hal David’s 'I Say a Little Prayer' and Joni Mitchell’s 'Both Sides Now' through to gay disco perennials like 'I Will Survive' and 'Macarthur Park' with its cake left out in the rain? … It flaunts its gayness in an old-fashioned, one might say provincial, manner. Maybe crudity doesn’t matter in a stage full of unashamedly over-the-top frocks, tall wigs and pouting divas. For my money, the divine girl trio – Zoe Birkett, Kate Gillespie and Emma Lindars - are the best things in the show, descending from the heavens like baroque opera queens.”
Nicholas de Jongh in the Evening Standard (four stars) - “At a time when escapist musicals are all the rage, here’s a rare one that takes you happily out of yourself and into daring places your wildest fantasies might never have dreamed of visiting. Priscilla Queen of the Desert the Musical should, therefore, do an absolutely roaring trade, and not just among the young and gay-friendly … From the first moments when three divas hang suspended high above a silver-spangled bridge and belt out 'Downtown', the show never loses its spectacular, helter-skelter momentum of songs to which the drag queens lip-sync. They all dance to Ross Coleman’s pugnacious choreography in an ever wilder outrage of costumes, right down to ridiculous belle époque corseted dresses and hats variously piled heavy with fruit, flowers and feathers: Simon Phillips’ production artfully exploits the fact that drag queenery relies on excess and exaggeration.”
Michael Billington in the Guardian (two stars) - “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 … 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 ... 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.”
Benedict Nightingale in The Times- “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 energy, fun, tunefulness and, above all, the most outrageous swirl of costumes that I ... have yet encountered. 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.”
Charles Spencer in the Daily Telegraph (four stars) - "Those who like their musicals tasteful, subtle, and preferably written by Stephen Sondheim and directed by Trevor Nunn should give this wildly entertaining new import from Australia a wide berth. It makes Mamma Mia! seem like something by Chekhov ... At the Palace Theatre, I’m delighted to report, an insanely euphoric and wildly contagious vulgarity prevails. It’s ten times more enjoyable than the screen version ... Simon Phillips’ production has a driving energy and a palpable mission to delight; the costumes and wigs are almost insanely over the top and feature so many feathers one begins to fear for the survival of the ostrich as a species; even the bus Priscilla is an ingeniously mechanised and cunningly designed delight."
Simon Edge in the Daily Express(five stars) - “Some of the jokes are as corny as Fray Bentos beef and, this being Australian humour, nobody gives a XXXX about polite language. Kanako Nakano’s show-stopping turn as a Thai bride doing unspeakable things with ping-pong balls is a benchmark for the level of humour: it really isn’t Oscar Wilde. But all wrapped up as a shiny, pink-bowed package, this sumptuously dressed show works gloriously, with its wigtastic parade of ever more jaw-dropping costumes an utter feast for the eye. Loud, lewd and lavish, it’s about as subtle as a smack in the teeth with a didgeridoo, but who cares when it’s this much fun?”
Maybe they should have ditched the travelogue element of the cult 1994 Australian movie The Adventures of Priscilla Queen of the Desert and just come inside for a floor show. Because that’s what Priscilla Queen of the Desert the Musical is, really, despite the climactic ambition of performing a Kylie Minogue medley on top of Ayers Rock and an underpowered Jason Donovan as Tick meeting up with his wife and little boy having explored his feminine side on the journey from Sydney to Alice Springs.
The travelling road show also stars Tony Sheldon as the ageing trans-sexual Bernadette (played more touchingly in the movie by Terence Stamp) and Oliver Thornton as the “gender illusionist” Adam (Guy Pearce on screen). We start “downtown” in the shadow of a glittering Sydney Harbour bridge, moving on to meet a collection of rednecks, tourists, country bumpkins and a token aboriginal in face-paint as well as an unhappily married garage mechanic, Bob (Clive Carter), who downs tools and joins the merry-go-round; he also finds true love.
Simon Phillips’ production poses various logistical questions, such as: how do they cope with 500 costumes, and who dealt with the copyright minefield of songs ranging from Burt Bacharach and Hal David’s “I Say a Little Prayer” and Joni Mitchell’s “Both Sides Now” through to gay disco perennials like “I Will Survive” and “Macarthur Park” with its cake left out in the rain?
Hitting one dud spot in the back of beyond, Bernadette wryly declares: “If you were going to give the world an enema, then we’ve found the point of entry,” which is an indication of the tone of the book by Stephan Elliott (who wrote and directed the movie) and Allan Scott. It flaunts its gayness in an old-fashioned, one might say provincial, manner.
Maybe crudity doesn’t matter in a stage full of unashamedly over-the-top frocks, tall wigs and pouting divas. For my money, the divine girl trio – Zoe Birkett, Kate Gillespie and Emma Lindars - are the best things in the show, descending from the heavens like baroque opera queens every now and then.
The design is by Australian theatre legend Brian Thomson – his titular bus is a triumph of chameleon colours and interior variations, transformed after a spot of outback graffiti care of some neon-painting – the costumes are by Tim Chappel and Lizzy Gardiner, and the task of matching karaoke soundtrack to the miniscule live band falls to musical director Richard Beadle.
I last saw Priscilla in London for Tony Sheldon'a farewell performance (though have seen it since on Broadway). With the show now closing in London I thought a final visit was called for as its one of my favourite musicals. The camp glitz and glamour of the show never fails to raise a smile and although some of the cast seemed at first a little tired, presumably from the hectic Christmas schedule, the energy of the show got them through. Of the principals, Richard Grieve seemed somewhat weak as Tick both vocally and in his performance, Ray Meagher as Bob was competent if somewhat one dimensional with little light and shade to the character, Don Gallagher was rather enjoyable to watch as Bernadette. He may seem like a man in drag rather than the woman Bernadette has become, but he does deliver a good performance with warmth and depth. Oliver Thornton is however, the star of the show now. His Confide In Me towards the end was delivered with real gusto and I loved the way he lapped up and enjoyed the ovation during the finale, clearly well aware that in a few days this wonderful journey will be at an end. Not a perfect performance by any means but still a fantastic night out. Will be sad to see Priscilla go :-( - Paul Wallis
28 Dec 11
This is definitely the best show in London . Very uplifting and it definately makes you forgot all your worries for a couple of hours. The customs are the best I've seen in a London show and the music also fab. Great night out. - Philip
16 Jun 10
Saw it again last week. Stalls seats. Amazing show. Oliver Thornton steals it really with his characterisation and voice..this guy can SING and ACT! Well worth my hard earned £70.00. I thought HAIR might be similar but that's another strory, see my review! Will be going again to see Priscilla, worth every penny. - Dave Woolrich
27 May 10
Bloody Brilliant.
3 glitter drops in under 40 mins in act one. genius.
- Cassox
26 Mar 10
Going to see it for the third time end of April, Lorraine Kelly has seen it more than me!! Shame Tony is leaving he gives me goose bumps when he does the first bit 'Macarthur Park". Best show in town. - Mikey
14 Mar 10
Back for a final ride on board Priscilla and to say farewell to the cast who are leaving to whom I say thank you, especially the incomparable Tony Sheldon. The show was electric, the audience awsome. I have laughed and cried with this show many times over the past year and tonight was the most emotional of them all. Tony, the absolute professional that he is held it together brilliantly and gave as ever the most incredible performance as Bernadette. I certainly cried tears of sadness that it was the final time I’ll see him play her. Tony, you are the best!! I am so glad you came to London and am so sad that we've come to the end of the road. Or maybe not; hopefully next stop Broadway?? If so, I'll be there ;-) - Paul Wallis
10 Mar 10
I just can't get enough of this show. Every time I go, it makes me want to go again. Tonight was a full cast with no changes and a chance to get up and close and revel in some fine performances. Being close to the front, you really get a different perspective. I can certainly see why Oliver Thornton won his WOS award. As for Tony Sheldon, that man is a STAR. When he is on stage I just can't look at anyone else. Its a rare thing for me but I will be back again this week on Saturday to say farewell to Tony and to some of the other cast. This show has left a last effect on me and its all good :-) - Paul Wallis
02 Mar 10
If you are thinking of seeing this show...don't just think...GO!
I have been lucky enough to see the show in Sydney 3x, Melbourne once and now London twice. It just keeps getting better.
It is the type of show that makes you smile from ear to ear and leave the theatre feeling good. The true example of a feel good musical.
The performances are excellent...although Tony Sheldon is still the standout - however saw an understudy on Saturday and he was almost as good. It bodes well for when Tony leaves the show.
Why not 5 stars...well in my opinion the 2nd act is still by far the weakest. Please consider ditching 'thank god I'm a country bou'...it doesn't fit the rest of the show. Also once they hit the casino...it just doesn't have any punch....again ' boogie wonderland' not the greatest. However the changes made since Australia are all good, I would just like some more before Broadway...and yes I will try to see it there.
Long live Priscilla Queen of the Desert - Nesby
22 Feb 10
This is my 6th time to see Priscilla, though the first time I've enjoyed it from the stalls and what a much better experience it was being so close to the action. Once again I had a ball. Priscilla remains the campest, most fun show in town. Whatever troubles I had before the show they were forgotten for the evening. As ever the majestic Tony Sheldon was outstaning. If he doesn't win the WOS award for his performance there is no justice in the world. Jason Donovan gets better and better as Tick/Mitzi, he truly now inhabits the role and plays it with gusto. Matthew Cole was on for Adam/Felicia and I think I'm enjoying his performance more than Oliver Thornton's now. I had a brilliant night. I think visit number 7 is on the cards ;-) - Paul Wallis
12 Dec 09
At the end of a difficult few weeks, I really looked forward to seeing this show again.
At Fridays performance we had Craig Ryder on for Jason Donovan as Tick/Mitzi. He gave a competent if unremarkable performance. Oliver Thornton as Felicia/Adam was a litle underpowered vocally but was as wonderfully camp and brash as ever. The excellent Tony Sheldon as Bernadette once again led the way with a superb performance that touched all emotions.
The ensemble were on great form and the show once again delivered a great dose of feelgood fun. It should be prescribed on the NHS :-) I will be back again! - Paul Wallis
Opened under D'Oyly Carte as the Royal English Opera House on 31 Jan 1891. Became the Palace Theatre of Varieties in 1892. Present name dates from 1911. 1400 seats. Member of the Society of London Theatre.
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