Yes, it's a jukebox musical and doesn't purport to be anything more than campy fun, but the book, characters and music are miles above the tedious Mamma Mia! which I found to be as delightful as receiving a colonoscopy in a third world country by a first year medical student. I'm no drag queen (though I'm sure I'd be fabulous) and I might be biased toward the gay-bashing storyline, but I found the conflicts and relationships in Priscilla much more realistic than the I-used-to-be-a-slut-and-have-no-idea-who-got-me-pregnant-and-I-don't-care-because-now-I-live-a-dream-life-on-a-Greek-Island plot of Mamma Mia!
I was slightly disappointed with the lackluster choreography. I realize that the incredible costumes and headpieces probably hinder mobility, but I expect more than
The three female divas do vocal justice to the classic disco hits and some numbers are integrated more successfully than others, but it's really about the familiarity factor of the songs and the amazing costumes (and that bus!). I think the only mis-step is the overly long "fast forward" version of the nightclub act the trio performs at the casino. It's based on a single sight gag that overstays it's welcome after about its third repetition.
Will Swenson (Tick), whom I usually adore and who in real life is attached to my straight crush, Audra, seems unsure whether to embrace the full feminine qualities of his character or play it straight. This may, of course, be his actual character choice, but it reads like he's still in rehearsals and trying different approaches even though he's been playing the character for months (since the pre-Broadway engagement in Toronto). He needs someone (i.e. the director) to tell him his choice is not working.
Though Tony Sheldon (Bernadette) doesn't get the last bow, he should. His character grounds the show and is the only actor who seems to get the right balance between campy humor and honest characterization. The audience genuinely roots for him. Swenson's father-son story line doesn't really get humming until his arrival at the casino and that doesn't happen until the last 15 minutes of the show. Beef up Tick's story line or give Sheldon the final bow.
Nick Adams (Felicia) is stunning to look at and his gym membership is worth every penny he pays for it. But here he's merely eye candy. His full out camp performance is entertaining enough but is all surface bitchiness. This was a missed opportunity to add some real emotional depth (see Guy Pearce in the movie) to the flamboyant surroundings.
I'm sure I'll be back often if just to experience the natural high one can only attain from the sublime combination of Gloria Gaynor, feathers and g-strings. Only I'll be sitting at least nine or ten rows back since our fourth row orchestra seats were just a bit too close for the very high stage. Fine, of course, if your health insurance covers chiropractic visits.
Best overheard audience comment at intermission: "Is he [Nick Adams] really singing Sempre Libera? If he is, he's really good." Of course, watching the show it is painfully obvious he's lip-synching to a recording of the aria. I think the full orchestral accompaniment and high "E" give it away.
Thursday, March 3, Palace Theatre
8pm performance
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