Review: Pride Films & Plays' Feel Good PRISCILLA

In theater, as in life, timing is everything. Back in October when Pride Films & Plays announced the cast for "Priscilla, Queen of the Desert: The Musical," I found myself wondering if the production -based on the 1994 film "The Adventures of Priscilla, Queen of the Desert" -would feel dated, given the strides that have been made in the LGBTQ community.

PF&P executive director David Zak either has gotten pretty good at reading political tea leaves or is just plain lucky. If ever there was a need for a laugh and a reminder of the intrinsic bonds of family that we in the LGBTQ community have to forge when abandoned by our own families/communities, it's now. Acceptance comes easy in a major city like Sydney (or Chicago), but even today the reception is less welcoming in a small town be it in the Outback or downstate. Co-drected by Zak and Derek Van Barham, the arrival of that great, pink bus called "Priscilla" could not come at a more opportune time.

Jordan Phelps turns in another sensitive performance as Tick/Mitzi, the drag performer whose world is thrown a loop when his wife calls in a favor. She is in need of an act for her casino in the remote Alice Springs territory. Tick is not only married, but he has a son whom he has never seen.

Chicago LGBTQ icon Honey West has the plum role of Bernadette, a transgendered star of yesteryear, who, after the sudden death of a young lover, decides to join Tick/Mitzi on an epic odyssey through the Outback. West brings much gravitas to her role -brash and defiant at moments, but there's also a quiet grace to her performance, too. When she sings in the second act of love affairs gone wrong ("A Fine Romance"), West goes a little bit further with Dorothy Fields' lyrics than just the usual puns and you get a sense that Bernadette approaches life with equal parts humor and regret. It's unlikely that you will ever see anyone play the role this well again.

Luke Mierdiercks rounds out the trio of travelers as Adam/Felicia. Adam is the resident gayby; he is a bit spoiled and gives the impression that he is completely unaware of the struggles that people like Bernadette have had to overcome so that he can enjoy the life he now lives.

Jill Sesso (whom I caught at UAC's production of "Andrew Lippa's The Wild Party" last season) gives a breakout performance as one of three "divas" who act as a musical Greek chorus of sorts. She's got a powerful range and can belt out a disco standard with all of the grit and moxie you would expect.

However, her co-divas Tuesdai B. Perry and Rebecca Coleman are no slouches, either. Perry slays the "Sempre Libera" aria from "La Traviata" and Coleman gives a soulful take on the Cyndi Lauper classic "Girls Just Wanna Have Fun."

As the Outback auto mechanic Bob, John Cardone has great chemistry with West and the pair have a touching and romantic moment in the second act. His reprise of "A Fine Romance" is a mirror image of West's performance, showcasing the connection each of these characters share.

As Miss Understanding, the emcee in the club where Tick works before setting out on his adventure, Aaron C. Reynolds puts some heat into "What's Love Got to Do With It." Like the best drag queens, his performance leaves you wanting more and he is another actor in the ensemble who I look forward to seeing in a larger role in the near future.

The tightly-directed show moves at a brisk pace. Jon Martinez' choreography includes big, ensemble showstoppers ("Go West" and "MacArthur Park" to name just a few) as well as an Outback hoedown. The cast of 16 move like a well-oiled machine in the intimate space.

The musical direction by Robert Ollis (who also conducts the pit orchestra) features a few stand-out moments by the ensemble including "Go West" and "We Belong," the latter turning the Pat Benatar standard into an a 'Capella anthem of sorts that sounds incredible.

With a large cast and set pieces that boarder on spectacle, the show is an ambitious proposition to undertake as the inaugural production in the Pride Arts Center. While the budget may not be there for much of a bus, Jeremy Hollis' set design is functional as much as it is spartan. Go into the show expecting to enjoy the music and have a good time and you won't be too disappointed.

The bulk of the budget appears to have gone to costume designs by John Nasca. While the show features a couple of homages to the Oscar-winning wardrobe from the film, it's Nasca's original costumes that steal the show (without spoiling much, my favorites all involve pastries and manage to elevate a throw-away number from the Broadway production to a showstopper).

All in all, the ambitious production pays off with a feel-good musical that is the perfect tonic to these uncertain times.

PRISCILLA: QUEEN OF THE DESERT the musical runs through March 12th at the Pride Arts Center, 4139 N. Broadway. Tickets, $30-$40. www.pridefilmsandplays.com.

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