Review: PRISCILLA, QUEEN OF THE DESERT at Palm Canyon Theatre

Three cross-dressing entertainers bringing mirth and mayhem to a desert. Has there ever been a show more destined for Palm Springs? The production of Priscilla, Queen of the Desert currently playing at Palm Canyon Theatre, deserves every full house, every standing ovation, and every word of enthusiastic praise it has received so far. Fortunately, PCT has been able to extend the run for a fourth weekend since the first three weeks are already virtually filled, but don't delay on buying your tickets. There have already been a few Hamilton-esque offers of "I'll pay anything for a pair of seats!"

Much like the 1994 Australian film classic, the stage production is a jukebox musical. Starting with "It's Raining Men," all of the songs are familiar hits, and most of them tug at our hearts with memories of decades past. Hearing them performed live, with enthusiastic choreography and outrageous costumes, is a disco delight.

The story revolves around Tick (Nicholas Sloan), a Sydney drag queen, who gets hired by his ex-wife to perform for two weeks at the casino which she manages in Alice Springs, in the dead center of the Australian outback. He wants the work, but even more so, to see his son for the first time. He will need other performers to do the show with him, so he asks his friend and mentor Bernadette (Ron Coronado), a former drag star who has now transitioned into a woman. She agrees to the job and the travel it will require before she becomes aware that there is a third queen joining them, Felicia (Anthony Nannini). Felicia is young, thin, queeny, and anxious to challenge every border that she spies - in short, the opposite of everything that Bernadette stands for. The two of them have a history of conflict, but try to put it aside. The three queens set out for an adventure-packed trek to the Red Center in a converted bus which they christen Priscilla, Queen of the Desert.

It would be ridiculous to try to pick a favorite from these three. They all deliver in spades, and their characterizations are distinct, dimensional, and likeable. Their loving/bickering relationship, as carefully orchestrated by director Scott Smith, is the backbone of the show. Coronado earlier lobbied to get the theatre to produce this show, and once he was cast as Bernadette, he lost 40 pounds to make her more believable as a transitioning woman. Having been the company's go-to actor for over-the-top screamers in previous years, this role displays a whole new level of maturity and control for him. At most times, he flashes the steel exterior of his character having worked in drag for decades. However, when he later realizes he might have found "the one," he shows us the vulnerable human behind the mask.

Sloan is the middle man. He is the central character in the story who selected the other two to join him on a bus ride to the middle of nowhere. He is chronologically somewhere between the other two, and he also dials in the middle level of flamboyance. Doing drag is his job, not necessarily his passion, though he's still ready for a good time. His rendition of "MacArthur Park" is one of the show's highlights - especially when he rips open his shirt!

Nannini as Felicia is the cute young gay guy who just wants to have fun. He's as harmless as a kitten exploring his environment, though his exploits do get him into a spot of trouble. Nannini also choreographed the show, and the production numbers are outstanding. All three leads are triple threats with their acting, singing, and dancing at top levels.

A trio of Divas (Allegra Angelo, Sarah Hagar-Cox, and Amber Mora) wander around onstage, down the theatre aisles, and onto a second level upstage. They sing girl-group harmonies in Supremes outfits, and like a Greek chorus, they are ever-present but not part of the action. Their harmonies and movements are tight, and it's always a welcome moment whenever they appear.

There is not a weak link in the cast of 25, many of whom have to make quick changes from dancing drag queens to outback cowboys in mere moments. Outstanding are Luke Rainey as Bob, the married mechanic who is smitten with Bernadette, and Ben Van Dijk as Benji, Tick's son whom he has never met. When the father and son meet near the end of the show, my tears started, and as they bonded with Tick teaching his son Elvis moves, I grabbed for my hanky. The tears continued as the three traveling friends made their ways to the top of Ayer's Rock to live out their dream of "A c*ckin a frock on a rock." In doing so, they recognize that their love far outweighs their squabbles and differences.

Top marks go to Alan Jensen's set design, including Priscilla a 25' long bus. It revolves, lights up in various patterns, and even supports a giant sequined high heel on its roof at one point. He also developed a way of keeping it hidden when required.

Also mind-blowing were over a hundred costumes by Derik Shopinski, aided by Mat Tucker. He channeled many of them from the movie, but seeing them live on a Palm Springs stage was a thrill. There were even new costumes for the curtain calls, and when the son hopped out to take his bow in a kangaroo suit, my crying started all over. Just too damned cute!

Musical Director Steven Smith certainly captured the energy of the 70's and 80's disco anthems, and he heads a five-man combo which accompanies the show live. The musicians might have appeared a bit older than your typical rock band, but it soon became evident that they had been playing these charts since they were originals. They knew what they were doing!

Lighting by J. W. Layne and Sound by Jack Ramoran kept us focused and aware of our changing locales, and Director Scott Smith is Coachella Valley's Superman! The show moves as quickly and smoothly as a well-oiled disco ball. I would love to see this show become a staple at PCT, returning every year or two.

Although the ads say Priscilla plays through November 12, it has actually been extended through November 19, though those tickets are likely to go soon. It will be followed by Jerry Hermann's splashy musical, Mame. And don't we all need a little Christmas?

Tickets and further information can be found at www.PalmCanyonTheatre.org, or 760-323-5123.

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