This show is going to last forever. If the crowd I saw last night is in any way indicative of audience response in the future, we can expect decades of the most creatively dressed and enthusiastic theater goers this city has seen in a long time. The buzz started well before the curtain went up, and the cheering began immediately after the first chord was struck by the orchestra.
The production is not without its faults. At two and a half hours, it’s just too long. The first act is basically a cabaret exhibition, and it becomes repetitious. After a while, so much drag becomes a…well, you know. And while the Tina Turner impression is terrific, we don’t need to see it over and over again. Some of the jokes are pretty lame cheap shots; Tom Cruise and Madonna swipes are not exactly cutting edge material.
But really, nobody’s listening that closely to the dialogue anyway, except when it pertains to the acceptance shown to Tick/Mitzi by the son he’s seeing for the first time. The man next to me cried during this scene, and I bet he wasn’t the only one.
For the most part, the rest of the program is, in the vernacular, glitz, corny bits, and fake tits. Three terrific singing divas drop from the sky, confetti rains down from the heavens, and all the heels are skyscraper high. And the costumes, my dear, are to die for. Remember the designer who wore to the Oscars the iconic mini dress made of gold American Express cards? That was Lizzy Gardiner; she and her partner, Tim Chappel, won an Olivier Award for designing the over the top garb here, and if there’s any justice in the world of theater, they’ll win all the American awards, too.
Of course, a musical is only as harmonious as its cast, and everyone on stage is blessed with talent and energy to spare. The three principle actors just couldn’t be better. Tony Sheldon brings to the transsexual Bernadette both a heartbreaking wistfulness and a Lauren Bacall elegance. Nick Adams, as Felicia, is by turns obnoxious, endearing, and spirited. And Will Swenson’s Tick/Mitzi is simple irresistible. Without his charm and ability, the whole production could come across as if, dare we say it, someone left a cake out in the rain. He carries the show on his well-muscled shoulders, and we never see him sweat, just glow.
A wagging forefinger here about Swenson’s bio in the Playbill. It’s offhand, too cute by half, and not informative. Note to all actors giving knock out performances: we will be flipping pages to find out who you are and what you’ve done. Please show us that you value this interest.
The closing number/curtain call is confusing. Audience member stood, then sat, unsure of when to bestow the destined standing ovation. Let me assure you that the cast will take individual bows, and there will be plenty of time to leap to your feet along with everyone else.
Photos by Joan Marcus
Priscilla Queen of the Desert
Palace Theater
1564 Broadway at 47th Street
Michall Jeffers is an accomplished Cultural Journalist. She writes extensively, both in print and online. Her eponymous cable TV show is syndicated throughout the tri-state area, and features celebrity interviews, reviews, and commentary. She is a voting member of Drama Desk, Outer Critics Circle, American Theatre Critics Association, International Association of Theatre Critics. www.michalljeffers.com
