Priscilla Queen of the Desert

It seems very strange now to reflect back on when Priscilla Queen of the Desert first entered the world and that it was really rather a shock at the time. In the wake of heightened homophobia in the 1980s bringing this story of two gay men and a transgender woman as the leads in a story and celebrating them as humans was really quite provocative given the thinking of that time – yet here they still are, 31 years later, still celebrating, still daring to be exactly who they are. And audiences around the globe adore them for it: for ultimately this is a show daring you to dream your own personal dream and be exactly who you are, which is a very necessary feel good moment for us all, and always relevant to now. 

Here, Worthing Musical Comedy Society have done that legacy very proud indeed. This was a totally stunning, fabulous, glitter filled extravaganza where the audience could feel the vibe from every single performer on the stage: that they were all loving every second of being there, and they were giving everything to it. Nobody could ask for more than that. This is a show that sparkled and shone in every single department, led by three very talented leads who threw themselves at it. Stephen Hollis was outstanding as Bernadette: sassy, classy, vulgar on occasion, unapologetic, tough, yet vulnerable and fragile and hiding in the romantic inside, longing for love. You honestly believed every word, every move, every gesture: this was a character embodied from head to toe. Incredible work. 

Adam Knight made a fabulous Adam, managing demure with ease, the bitchy one liners coming fast and easy and completely naturally. He also managed to portray that ‘young looking for fun’ feeling secretly hiding a longing for something more underneath: again, a fully formed character, every movement and way of speaking was natural. Miss Jason, to whom he dedicated his performance, would have been very proud. Alex Brown had probably the most difficult job here as Tick, as the pivot between the two other characters, the comedic straight man, often being the most adult or sensible of the three; as Tick is less confident in who he is than the other two. It’s hard to play a role that is by design less bright and obvious than the two others, but Alex did it with aplomb. He conveyed that uncertainty in approaching fatherhood, the shame and guilt about having been married to a woman and not having told his friends.  

What also worked incredibly well were their very different yet complementing voices. They each have such strong voices individually yet blended perfectly. What made this extra special, and set this above so many other productions, is that they, and everyone on the stage, acted every single moment they were on the stage, including through all the songs. Actors that can sing as well as act are not that easy to find, sometimes the emphasis in a musical is on the singing rather than the acting as well: how hugely gratifying to find the acting so brilliant as it is here, in all the actors on the stage. Rowena James was a hoot as Shirley, making the absolute most of her role, making it truly memorable. Dan Bone had great presence and swagger whenever he was on stage and lovely finished lines in the dances, and Teddy Simmons gave a gorgeous performance as Benji, totally believable. Tom Brennan had the tall order to starting the show as Miss Understanding and he did this wonderfully: he set the tone with total confidence and the whole audience loved him for it. It should be daunting to have to interact with a cold audience straight away but if he was daunted it didn’t show at all, he had swagger, poise and a huge dollop of sass.  

The Divas: Hannah Etherington, Polly Lewis and Amy Marchant, deserve their own special mention of course as the musical glue holding all the songs, and the 80s dances they did as accompaniment were perfect in tone and execution. Their voices soared, they were sublime. Seeing the nod to the Bananarama dance in Venus was a really lovely touch. The choreography was another standout element of this whole production: the shapes created on the stage in the huge musical numbers, yet everyone had space and could be seen; plus the style of choreography was perfect for this show, throwback to the 80s was exactly right. Hugest congratulations to Choreographer Kate Wilson. 

In Priscilla, you have to have the most elaborate costumes and wigs, especially those in certain scenes of the movie; and you have to have a bus on the stage. And fans of the show will not have been disappointed here. The moving bus, turning around so you could see the outside and the inside when needed, was indeed on the stage. And no stage hands could be seen, which is absolutely right, and so gratifying, as it can spoil a show just by seeing someone, taking the audience out of the moment. The exception – which was the correct one to make, was for the curtain call, when they turned the bus while being seen: which gave them a chance to be applauded for their essential background work.  

This must be the busiest show for costumes, special mention should go to Erika Gibbins, Lisa Paine, Carolyn Bennett and Claire Webb: the costumes in the scenes that needed to be the same as the movie were exactly that. What was also brilliant was that the cast must have practiced in the costumes, which is essential in a show like this where the costumes, especially the ones with detachable head gear and huge feet, are not exactly practical. In the big ensemble numbers, including the standout black and white cowboy style one, everyone had complementing black and white costumes yet they all looked slightly different, which was amazing: a feast for the eyes. Makeup and wigs were elaborate and matched the style for each scene as well: again, cast must have practiced with this, as they all looked so at ease with it all. 

Congratulations also to MD Nigel Newman and orchestra who rarely had a moment off in the entire show. They supported it all wonderfully. As did the stunning lighting design: the colours of pinks and reds giving warmth or fire and blues for colder, plus brilliant follow spot work. All things that a regular audience member wouldn’t necessarily notice, because when it’s spot on, you just see the smooth flow and how everything is gorgeously held just right.  

It is important to remember that this show isn’t just fluff, it’s set against the backdrop of a huge outpouring of homophobia in the 80s where if you were in that world, it was dangerous to be who you are. The show brings that in, and is better for it: needing those moments of gravitas and horror before embracing the bravery of these three people and celebrating them all the more because it’s not been easy for them. How wonderful to read in the programme the background of the origins of the film, that it’s based on the lives of three real people, which not many will know. That was a lovely choice to include, plus the photos of Priscilla’s presence at Worthing Pride, plus reading the “drag persona” names of all the cast and crew in the programme: a lovely touch! 

There were so many moments in this show that will live in the memories of the audience: the three of them, with that famously uttered line ending in “... in a frock, on a rock” had the best deadpan delivery which made the audience erupt. The giant dancing koala in inflated costume which kept making an appearance was inspired: utterly hilarious. Adam’s mimed opera in silver dress on top of the bus was fantastic, and the show in Alice Springs montage was very cleverly done. There were some quick changes during the show but not a ruffled feather in sight: great job. And Aussie accents maintained throughout – superb. 

Biggest heartfelt congratulations to Director Jeffrey Raggett who led this production and has inspired such a show, and to every single actor, dancer, singer, and everyone in the crew in every aspect in a superbly wonderful and excellent show, completely worthy of audience whooping and the standing ovation. 

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