Priscilla Queen of The Desert – The Musical

Willoughby Theatre Co’s return to the stage post Covid opened with all the glitter and sparkle you would expect, then more, from this stage musical version of iconic film. As the theatre lights went down and the welcome announcement was delivered, we knew we were going to be having a fun evening. Then the glitter cannon went off over the audience.

The musical has less of a story-line than the movie and is a more juke box style of show with hit numbers like “It’s Raining Men”, “What’s Love Got To Do With It”, “Boogie Wonderland” and “Always On My Mind”, keeping you highly entertained, as you are amazed at the spectacle the cast and crew produced. The lovable Drag Queen characters of Tick (Mitzi), Bernadette and Adam (Felicia) were all brought to the stage colourfully, though lacking the background insights into each character that the movie provides.

One element that amazed me and anyone that I talked to after the show were the sets and costumes, both for the lead actors and ensemble roles. Leading the set pieces/ props was that of Priscilla - the bus. It became a main set piece and Adam Haynes’ direction of actors on its use on stage was brilliant, especially the way it became painted mid song during “Colour My World” with ensemble in costumes with paint brush head pieces. The headpieces and wigs were a sight to be seen, created tmany WOW moments that just kept coming throughout the show. The costume and set team, headed by Joy and Tom Sweeney and Josh McIntosh, have to be commended for their work here, with the hiring of certain pieces taking this show from an amateur look to a professional one. The finale deserved its ovation, with the range of costumes on show and the staging really working a treat.

Casting this show isn’t you’re usual musical casting and to find as many lead males and ensemble males that could wear the costumes and heels and dance in them was a credit to all involved. This was highlighted by the three leads - Brent Dolahenty as Tick, Glenn Morris as Bernadette and Tom Gustard as Adam – who were incredible in their own performances and as a group vocally. Their chemistry and energy filled the stage. Dolahenty played both the comedy and dramatic elements of the role to perfection and shone in all dance numbers. Morris brought a real fun maturity to the trio; vocally strong, he had a believable connection with the character Bob, played with lots of heart by Geoff Stone.

Gustard was a big stand out as the youngest of the three, hamming it up at certain stages, then handling the emotional scenes superbly.

The trio of Divas - Nikole Music, Jessica Zamprogno and Karen Oliver - brought an added element to the show, shining in many of the numbers and also with backing vocals, whilst all looked stunning in their many changing outfits. Geoff Stone as the lovable Bob, Taryn-Lea Bright as Marion and Jerome Study as the announcer, Miss Understanding, all had some wonderful moments in their limited stage time. A special mention should also go to Mitch Perry as Tick and Marion’s son Benj, who had great stage presence.

The large ensemble excelled in the choreography and were vocally very powerful.

The production team that brought this show together have been working on it since 2019, riding the lows of Covid and having to postpone the show a year. Their vision for the show has been a collective masterpiece and all but a few elements worked on opening night.

Director Adam Haynes’ staging of his large cast complemented the set and costumes and has helped guide his leads to give engaging performances. MD Jeremy Curtin and orchestra have brought alive all the hit songs of the 70s and 80s, the cast sounding well-rehearsed and full of energy on opening night.

Janina Hamerlok’s Chorey made all the songs pop and looked amazing in both smaller numbers and full cast production numbers. Choreography highlights were Felicia’s routine with the boys in leather for “Venus” and “I Will Survive”, where all the queens were wearing gumby outfits.

There were some sound issues on opening night and drops in and out from body mic’s, but the lighting effects all looked fantastic and helped highlight themes and moments throughout the show.

Priscilla The Musical is exactly what the Sydney theatre scene has needed post Covid and you can’t help but smile and cheer and the spectacle this show provides. Willoughby Theatre Co has set a standard of how this show should be done, and hopefully we will see more productions of it in the future.

James Russell