A Boogie Wonderland

Priscilla, Queen of the Desert

Amidst a profusion of sequins, marabou and mylar the ensemble of this cotton candy of a musical dazzles and delights audiences of every age, gender and persuasion. It’s just plain fun and, boy, with all that’s going on in the world today, do we ever need this dose of eye-popping, over-the-top beguilement right now. Christopher Chase Carter has energetically directed and choreographed a spirited, vivacious heartfelt musical version of the 2011 Tony Award-winning production that was, in turn, based upon a 1994 film cult classic.

Tick, a gay performer who calls himself Mitzi, is struggling to make it big in Sydney, Australia’s drag club scene. One night he receives an unexpected phone call from Marion, his former wife. They’ve remained friends over the years, although he’s never met his 8-year-old son, Benji. Marion suggests that Tick (and some of his drag performer friends) come to remote Alice Springs to perform at her hotel/night club. The bonus is that while he’s there, he can finally meet and get to know his young son, as well. So Tick invites his old friend Bernadette, a transsexual who achieved fame years ago in the Australian lip sync revue, “Les Girls.” Bernadette has just buried her partner and is ready for a new diversion. Tick also invites his younger, more flamboyant friend Adam, who performs under his drag name, Felicia. Off across the Outback travel three generations of female impersonators, in a bus they christen Priscilla, Queen of the Desert. Their adventures with back woods locals, An enthusiastic Aborigine and a broken-down vehicle form the plot of this episodic, joyful journey that demonstrates the importance of universal acceptance and true friendship.

Josh Houghton is, in a word, simply wonderful in the leading role. He easily dons powder and pantyhose, making Tick the heart of this production. Mr. Houghton has a powerful, expressive voice and an agility made for Christopher Chase Carter’s manic disco moves. But where Houghton really excels is in the honesty he brings to his relationships, not only with his friends Bernadette and Adam, but also with his young son, Benji (very nicely played by young Gabriel Solis). The actor makes “I Say a Little Prayer” and, later in the show, “Always On My Mind,” into beautiful, heartfelt, musical tributes to his little boy that may bring a tear to your eye.

Having seen this production on Broadway, I didn’t think any other actor could come close to Tony Sheldon’s wonderful  portrayal of tough-as-nails survivor, Bernadette; but Chicago actress and cabaret star Honey West truly proves that she’s a solid actor and a true Chicago star. Not only does Ms West make every comic and dramatic moment resonate, she sings like the chanteuse that she is. While protecting Bernadette’s fragile psyche, Ms West combines this with her fierce devotion to her traveling companions, while showing her growing love for Bob, her new flame, and a true gentleman. He’s played with sweetness, warmth and sincerity by Michael Kingston (with talented Jason Richards taking over the role on August 15). 

Shaun White, is every inch the flamboyant Felicia and is a very talented singer/dancer in this role. The way this part is written gives Mr. White ample opportunities for Adam’s trademark snark and sensationalism, however it deprives the actor with the scenes that provide the gravitas needed to make him as likable and realistic as his two costars. However, Mr. White, a recent graduate of CCPA, certainly knows how to dazzle as a performer, and he tears up the stage in his mimed operatic aria, while he writhes atop the roof of the bus.

Praise must be heaped upon the show’s tireless ensemble who play multiple roles in this demanding production.The Three Divas (Heather J. Beck, Lydia Burke and the incomparable Jessica Brooke Seals) who serve as the boys’ Guardian Angels, burst onto the stage periodically to comment musically and entertain with such rousing numbers as “It’s Raining Men,” “Venus” and “Shake Your Groove Thing.” Ayana Strutz is terrific in the ensemble, but simply unbelievable as rubber-limbed Cynthia, Bob’s flaming and flashy wife, who demonstrates her special trick while dancing and entertaining in the local bar. She makes the 1979 hit, Pop Muzik” take on a whole new meaning. Marcus Jackson and Matthew Weidenbener stand out in the male ensemble, playing several different cameo roles and demonstrating strong voice and dance abilities. The rest of the company incredibly become The Village People, Tina Turner and, by the joyous finale, every species of animal found in the Australian Outback.

And this brings us to the two real stars of this show. The first is, of course, the wonderful array of infectious, toe-tapping disco hits and powerful pop standards that infuse this musical with joy and help tell the story. And the second is Bob Kuhn’s eye-popping, over-the-top costumes that are so creative and fun. Although the wardrobe is, understandably, scaled back considerably from the Broadway production, obviously for financial reasons, Kuhn’s costumes are still flashy and creative, eliciting plenty of “Oohs” and “Ahhs” from the audience. Leather, chains, chiffon, glitter, towering emus, koala bears and Mitzi’s famous frock made almost entirely of rubber flip-flops have to be seen to be appreciated. The costumes are blindingly colorful, sequin-encrusted, spandex encased, beaded and feathered creations that are worth the price of admission. Add into this Keith Ryan’s excellent wig designs and you have a delicious visual treat that’s only enhanced by Jonathan Berg-Einhorn’s trimmed scenic design (his Priscilla is pure genius) and G. “Max” Maxin’s wild lighting and digital media design.

Eugene Dizon’s magnificent musical direction makes the score of this jubilant jukebox musical so infectious that the audience might wish they could join the cast onstage for a festive sing-along/dance-along. Overflowing with club hits from the 1970’s and ’80’s, it’s impossible to simply sit still while songs like “Material Girl,” “Go West,” “I Love the Nightlife,” “I Will Survive,” “Girls Just Wanna Have Fun” and “MacArthur Park” flood your brain with memories of a happier, more carefree time. Only a handful of the movie’s original tunes have found their way to the stage version, but when you’re boogieing to “Hot Stuff” and “Shaking Your Groove Thing,” audiences will find themselves totally enchanted by a mirror ball of a “Boogie Wonderland.”

Highly Recommended

Reviewed by Colin Douglas

Presented July 15-September 11 by Mercury Theater Chicago, 3745 N Southport Ave., Chicago.

Tickets are available in person at the theater box office or by going to www.MercuryTheaterChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.