Priscilla Queen of the Desert

The 1994 film The Adventures of Pricilla Queen of the Desert was notable not only for introducing international audiences to versatile, homegrown stars Hugo Weaving and Guy Pearce; it also showcased a hitherto hidden Australian archetype. This one being neither 'ugly' nor 'rugged': the bawdy, b*tchy, warm, loving and heroically QUEER Aussie – albeit within the parameters of the Drag community. It's worth reminding folx that the film's huge box office success was NOT anticipated.

Fast-forward 28 years; with increasing LGBTQIA+ awareness & acceptance in this country – we're nevertheless witnessing dangerous, transphobic legislation, across the pond in the USA, being debated as I write. Consequently, it feels short-sighted to review this show based on production merits alone. 

A peruse of the program show notes revealed the vision behind this particular production. Apparently the director Daryl Kirkness started wrestling with how to conceive the show since the start of the pandemic. On the surface, Priscilla seems to be a Jukebox Musical, albeit heavily reliant on the 'colour and movement' of it all. The WOW factor of past pro productions set the bar high. Kirkness concluded that focusing on 'out-wowing' those productions might come at the cost of creating 3D characters with nuanced individual experiences of their outback odyssey. So he sliced the journey apart, thematically instead. He attributes the fabulous fever dream that resulted to months of meticulous brainstorming.

Casting would be crucial. While it could be said that being real life Drag Queen gave Nat Barry Midas Backhouse an edge in their role as Tick - it's their polish as an accomplished triple threat that grounds not only their performance, but the lead ensemble as a whole. Callum Hobson, at 17, is impressive as the erratic, mischievous – yet vulnerable Adam. For obvious reasons, the most anticipated performance would be that of Marc Calwell as the transwoman, Bernadette. Casting cisgender actors in trans roles brings a responsibility to bring dignity and some measure of authenticity to the role. There's a risk of being too camp, or unconsciously misogynistic. Happily, Calwell found aspects in his own humanity to emotionally connect the audience with Bernadette (despite the crass punchlines she's given). It also bears mentioning that from Row E, I detected a passing resemblance to veteran actress Liv Ullmann. Kudos to ALL the minor principals who owned their parts with gutsy aplomb.

It's community theatre tradition and sometimes GMS policy to cover every inch of the stage with bodies, but even so, this surprisingly large, diverse ensemble were run off their feet creating a multitude of vivid characterisations – while managing to not look chaotic. A testament to the blocking & choreography.

Toni Williams, Jacqui Grunden & Khiara Paris knock it out of the park as The Three Divas, a kind of Greek Chorus that sings 90% of the songs; alternating between centre stage and background, providing vocals for the Queens to lipsynch.

With the musical direction, art direction and tech on point, a mostly static set provides an unfussy backdrop for the make-up & costumes to wow the ffffactor out of it! Jamie McKenzie and his team truly goes above and the back of beyond. 

Ultimately, the thing that touched hearts about Priscilla as an enduring favourite film and musical is the moral of this fable: that 'family' can be found in unexpected places, and, if we're lucky, our flesh and blood family love us for who we are. The (spoiler alert) reuniting of Tick with his young son Benji, at the end, punctuates the latter point while reinforcing the over-arching point: that “protecting children” as an  excuse for homophobia and transphobia has never been valid. (Incidentally, three kids were cast as Benji; opening night featured a truly poignant performance from Rocky Croot.)

Yes, Pricilla, is “wow”. Yes, it's also coarse & somewhat problematic in spots, but that unfortunately reflects Australian society circa 1994. We've come a long way and there's still a long way to go. Kirkness, his cast and team do their utmost to drive home a united message of unabashed, unbridled celebration & support of the LGBTQIA+ community. 

Rose Cooper