Priscilla, Queen of the Desert
The Mayflower Theatre, Southampton
This musical is based on what is viewed as a cult classic film, and it is not difficult to see why. Jason Donovan plays Anthony "Tick" Belrose, a drag queen who left his wife seven years ago Marion (Julie Stark), because of his homosexuality. As the musical starts she phones him in Sydney and asks him if he will do his act at her casino in Alice Springs, as well as meet their son, Benji, for the first time. Though reluctant, Tick agrees and asks his two friends and co-drag queens, Bernadette (Richard Grieve) and Felicia (Graham Weaver) to accompany him. The three buy a bus, which they call "Priscilla, Queen of the Desert", and journey through the Australian outback, meeting all sorts of strange characters.
Priscilla is a simple road trip story, but having seen 9-5 I was surprised how well written the three main characters are. They are established very well and there is a sense of a growing comradery between them. There are some sad moments when the characters are reminded that outside Sydney they are outcasts in society. Ultimately however, the outcome to the three characters' stories, whilst predictable, were surprisingly touching to watch. Altogether the musical does not portray the main characters as merely drag queen stereotypes, but well-rounded people.
Jason Donovan as Tick is a father who is scared to meet his son for the first time, whilst he learns to take a more responsible role during the trip. My favourite would be Richard Grieve as Bernadette. During the first act he shows an aging drag queen who feels alone in the world, until he meets Bob. Giles Watling is a charming Bob and the relationship with Bernadette was poignant. Graham Weaver as Felicia is the youngest of the three, who prefers to give a more flamboyant and glamorous drag act. As a consequence he clashes with the moderate Bernadette and there are times when the two are passing jibes between each other. The rest of the cast add style and panache to the proceedings, particularly the three divas who come on (or fly in) to belt the songs with gusto.
I do not know how much this differs from the London production, but the set, whilst basic, is dazzling. The obvious change however is Priscilla the bus, which is just a skeleton frame being pushed around by the ensemble, instead of the actual bus from London. I myself did not mind, but if you have seen the London production it is likely that you would be disappointed by the bus. A focal point of the musical however are the outrageous costumes, and they do not disappoint. Gigantic, colourful, exotic, flamboyant and vibrant, they are a visual treat. This is a gloriously extravagant production with tons of heart of match. I would even go as far as to say that I prefer this to the Book of Mormon. If anyone has seen the London production then this touring production may not be worth a low Top Price; otherwise it is a 'must see'.
Priscilla is a simple road trip story, but having seen 9-5 I was surprised how well written the three main characters are. They are established very well and there is a sense of a growing comradery between them. There are some sad moments when the characters are reminded that outside Sydney they are outcasts in society. Ultimately however, the outcome to the three characters' stories, whilst predictable, were surprisingly touching to watch. Altogether the musical does not portray the main characters as merely drag queen stereotypes, but well-rounded people.
Jason Donovan as Tick is a father who is scared to meet his son for the first time, whilst he learns to take a more responsible role during the trip. My favourite would be Richard Grieve as Bernadette. During the first act he shows an aging drag queen who feels alone in the world, until he meets Bob. Giles Watling is a charming Bob and the relationship with Bernadette was poignant. Graham Weaver as Felicia is the youngest of the three, who prefers to give a more flamboyant and glamorous drag act. As a consequence he clashes with the moderate Bernadette and there are times when the two are passing jibes between each other. The rest of the cast add style and panache to the proceedings, particularly the three divas who come on (or fly in) to belt the songs with gusto.
I do not know how much this differs from the London production, but the set, whilst basic, is dazzling. The obvious change however is Priscilla the bus, which is just a skeleton frame being pushed around by the ensemble, instead of the actual bus from London. I myself did not mind, but if you have seen the London production it is likely that you would be disappointed by the bus. A focal point of the musical however are the outrageous costumes, and they do not disappoint. Gigantic, colourful, exotic, flamboyant and vibrant, they are a visual treat. This is a gloriously extravagant production with tons of heart of match. I would even go as far as to say that I prefer this to the Book of Mormon. If anyone has seen the London production then this touring production may not be worth a low Top Price; otherwise it is a 'must see'.
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