Review – Priscilla Queen of the Desert, Milton Keynes Theatre, 23rd January 2014

Priscilla Queen of the DesertFirst there was Mamma Mia, the musical featuring the songs of Abba, which we took a long time getting around to see; but when we did finally catch it, we loved it. Then every other musical seemed to feature pop songs rather than original music, and that just didn’t inspire me very much as a theatregoer. Putting a story together where the action has to match a group’s songs that may have been recorded decades ago struck me as putting the cart before the horse. And one of the shows that was born during my “No Pop Song Show Thank You Very Much” period was Priscilla Queen of the Desert. We hadn’t seen the film anyway, and the prospect of watching drag queens on a bus driving round the outback to an 80s disco soundtrack just didn’t do it for me; it felt both too surreal from a story point of view, and too unoriginal from a music perspective.

Alan HunterHow wrong was I? I should have known better. I’d already realised that the use of Abba songs in Mamma Mia is incredibly inventive and adapts beautifully to an enjoyable original story; as an example, if either Mrs Chrisparkle or I are feeling downbeat because something sad has happened, the other one is bound to open a conversation with the words “Chiquitita tell me what’s wrong?” (If you haven’t seen Mamma Mia, 1) you won’t get that and 2) why not? Go this instant!) Similarly the use of established pop songs in Priscilla enhances the little ironies of the story and emphasises its comic or sentimental aspects. From the parental love of “I Say a Little Prayer” to the use of “Don’t Leave Me This Way” at a funeral, from the soggy culinary disaster of “Macarthur Park” to the Ping-Pong ball possibilities of “Pop Muzik”, a lot of thought and inventiveness has gone into the structure of this show.

The DivasIt also hadn’t occurred to me quite how funny it would be – not only from the comedy dance routines but also from the actual story and script, which is buzzing with jokes and brilliant observations. For instance, there’s a killer line that describes how the late character “Trumpet” got his nickname – and no prizes (but it works well all the same) as to which soap character Jason Donovan’s Tick fancied the most. The staging is smart, colourful and extremely camp, the costumes are way way way over-the-top and a hideous delight, the choreography is fast, funny and expertly performed, and the acting is of a very high standard indeed.

Giles Watling and Richard GrieveIn a nutshell, Sydney-based drag performer Tick responds to a guilt-trip request by his ex-wife Marion (who manages a casino in Alice Springs) that he should take his drag act for a show at the casino and in doing so finally get to meet his eight year old son Benji. He enlists the help of two friends, transgender Bernadette (who used to be a star at Sydney’s “Les Girls”) and drag queen Adam (aka Felicia Jollygoodfellow). Together they take their pink bus named Priscilla on a trip to Alice Springs via such enlightened townships as Broken Hill and Coober Pedy. On the way they meet homophobic prejudice and violence, but also unexpected kindness and support; and it all ends happily ever after, with Tick reading Benji bedtime stories, and Adam achieving his ambition of climbing Uluru, so that he can say he’s in a frock on a rock with a c**k.

Graham WeaverOne of the things we both appreciated about the show, but especially Mrs C, who grew up in Sydney in the 70s and 80s, was the entertaining number of cultural references that we both could tune into. Old TV shows and characters get mentioned; the names of favourite sweets and drinks are recalled, and there are some fantastic pure Australianisms that you think surely no one would use any more – don’t come the raw prawn with me! But best of all was memories of Les Girls. When Bernadette meets Bob, she wows him with the fact she was once a Les Girls star, as he fondly remembers seeing the show (one senses several times) during his youth. Well how about this for a local reference – our first date (Mrs C and I, in her Miss Duncansby days) was at the self-same Les Girls. Tick and BenjiIt was a tremendous revue, two shows a night, the later one being a little more risqué than the earlier; and at around midnight you went upstairs to a big disco ballroom between the two shows. The stage routines were full of glamorous women, none of whom were women; and with one poor chap called Shane if I remember rightly, and all he had to do was act as a foil to the glamour-pusses and do a strip. It was there that I had my first and only Faggot’s Finger. It was a cocktail. I’m sure you’ve got the measure of the place from my recollections. But it was real glamour – and it has a great place in our joint affections.

Jason DonovanPriscilla is quite a surreal show in many ways, but I liked the way it did absolutely no scene-setting and made no apologies for what it was going to be. Right from the very start, it just got on with it. And it has a brilliant opening with a superb performance by Alan Hunter as Miss Understanding, doing a wonderful interpretation of Tina Turner singing “What’s Love got to do with it”. No disrespect to Mr Hunter but in a sense it works as a warm-up act, and boy does he get the audience going. The three divas, Emma Kingston, Ellie Leah and Laura Mansell, make frequent appearances in a number of guises and sing with fantastic gutsiness. Giles Watling makes a bemused and amusing Bob, an icon of tolerance in a prejudiced world, Frances Mayli McCann an outrageous and hilarious Cynthia, and, in the performance we saw, Joseph Jones a confident and cute Benji, who shows that prejudice is learned, not innate.

Richard GrieveBut it’s the triumvirate of big guns who absolutely make this show. Graham Weaver is a brilliant Adam, a spoiled, bitchy, over-confident know-it-all who’s just out to have fun and to hell with the consequences. He’s an excellent singer and dancer, and I predict a great stage future for him. Richard Grieve is extraordinary as Bernadette – he doesn’t play her, he is her; you can’t see the join between performance and reality. Probably the most convincing female impersonation I’ve ever seen, both very funny and very moving. And Jason Donovan is magnificent as Tick, an everyman/woman character at the heart of the show, going on a journey (that’s a “Journey”) not only from Sydney to the Alice but from a person with something missing in his life to someone with a purpose.

It’s one of the most feelgood shows I have ever seen, and we both loved it. It’s definitely a must-see if you can; unless you’re homophobic, in which case you will absolutely hate it.

Review – Strictly Come Dancing Live, NIA, Birmingham, 21st January 2012

Strictly Come Dancing LiveMrs C and I are huge Strictly fans so it was with great delight that we unexpectedly received two surprise tickets for last Saturday’s matinee at the NIA in Birmingham. As you would expect, the place was completely packed. What strikes you when you enter the auditorium are both the expectant buzz and the extraordinary stage. The band and judges are at one end of the arena, surrounded by an extravagant light wall, and the whole central area is devoted to dance floor. Two large video screens help you see in close detail what your eyes can’t focus on, as well as being used to give amusing backstage insights.

Kate ThorntonThe host is Kate Thornton, of whom I don’t know a lot, but she’s really good at the job, as well as looking thoroughly gorgeous. Friendly and reassuring when required, but also quick-witted at stabbing a telling remark or two along the way. Actually one thing I hadn’t expected was how generally funny the whole show is. Whether it’s Kate or the judges, the dancing or the backstage shots, there is a lot to laugh at in this show, much more so in fact than on the TV programme.

JudgesLen, Bruno and Craig are the three judges and each play up their own characters admirably throughout the entire show. Len continues to rewrite the language with his strange metaphors for enthusiasm; Bruno has his over-the-top reactions and his strange body language for enthusiasm, and Craig nicely wallows in his dour reflections that may or may not encompass enthusiasm. Both Bruno and Craig “lost it” at one stage and were helpless with laughter, which was an additional delight for the audience. Craig directs the show, and has included some judgely dancing in some of the big “entr’acte” numbers, some of which he couldn’t quite perform himself, which was a laugh.

Then of course there are the contestants and their professional partners. I was quite surprised how quiet the professionals were in the post-dance chats with Kate. Personally I get attached to the professionals just as much (if not more) than with the celebrities because you get to know them over the series, so I would have perhaps liked a little more chat from them. They do have to do a lot of dancing, mind.

The show starts with a big dance from the professionals alone and to be honest, I thought it was under-rehearsed as none of them seemed to finish together and on time. I was surprised at that. They were definitely better in their individual dances with their partners and in the subsequent group dances.

Harry JuddFrom the moment the couples are introduced there is absolutely no doubt who is going to win – Harry and Aliona. There’s something about Harry (I wonder what it might be that all those middle aged women see in him) that must appeal to about 98% of the audience, as far as the allocation of whooping and cheering is concerned. To support the underdog, I was determined not to vote for him, even if he was the best, as his victory was a forgone conclusion from the start.

Robbie and KatyaEach couple dances twice. First on was Robbie Savage, partnered with Katya Virshilas. What did you make of Robbie in the TV series? I thought he was surprisingly good. Well, in the middle of the live arena, he was surprisingly awful! Yes he sells himself really well, and it’s thoroughly entertaining, but actually his dance skills are Really Not There. Katya herself, whilst talking to Kate, said that Robbie basically wasn’t very good – Kate had to remind her they were meant to be on the same side.

Anita and RobinSecond were Anita Dobson and Robin Windsor. They did their Charleston, and highly enjoyable it was. I didn’t really feel that the crowd got behind them that much, probably still suffering palpitations after the sight of Robbie’s chest. The judges were pretty impressed though. Amongst the professional dancers, I do think that Robin Windsor stands out as a really strong performer.

Mark and NatalieThird was another chest opportunity, Mark Foster with Natalie Lowe. He’s the only celebrity in the show not to have been in the most recent series, and was clearly at a disadvantage, but he performed reasonably well. Natalie’s a terrific dancer, isn’t she. She even threw in a wardrobe malfunction in her second dance for good measure, so that we almost saw both their chests.

Nancy and ArtemNext was – I think – Nancy dell’Olio who is dancing here with Artem Chigvintsev. I know someone who has met Nancy dell’Olio, and he says she’s frankly bonkers. I saw no reason to doubt his word. Her performance is very funny – especially the second dance when she cheats and has both Artem and Robin to help her – but she rarely dances a step. I couldn’t tell how genuine or acted Artem’s rather sad and resigned look is when Nancy says they need to change the choreography – he just gently backs away into the darkness. Very funny stuff.

Jason and KristinaThen you have what you might call “The Big Three”. Jason Donovan with Kristina Rihanoff first; they did their Wake Me Up Before You Go-Go” number and then their Argentine Tango. Jason made a slight boo-boo on the first dance, which I confess I didn’t notice, but did a sensational tango and so I decided I would vote for them.

Chelsee and PashaNext was Chelsee Healey with Pasha Kovalev, who must think he has fallen on his feet considering this was his first series. They danced just as well as they did on the TV and gave a terrific show. The judges were wowed.

But everything else was eclipsed by Harry Judd and Aliona Vilani. When you watched the last series at home, you might have felt that the popularity for Jason, Chelsee and Harry was more or less even-stevens, and that only a poor performance by one of them would have led to more votes for one of their opponents. Not a bit of it. If this audience is anything to go by, Harry must have received more votes than all the others put together. You could barely hear anything else in the arena above the cheers for him, and he and Aliona executed two perfect dances, getting a maximum 60 points from the judges. He is the only celebrity participant who really could be a professional dancer. If he wants to change his career away from drumming, I reckon every door is open.

AlionaThey whittled it down to a final two of Harry and Chelsee but the eventual winner was never in doubt. In a sense, the weakest part of the show is that the competition element seems a little unnecessary. The series has already taken place, and the winners and runners-up have been decided. If there had been more competitors from previous series, against whom you couldn’t so easily assess this series’ celebs (imagine if Zoe Ball and Mark Ramprakash had been part of the line-up, for example) the competition would have been more interesting. Nevertheless, it’s churlish to criticise it on those grounds. It’s a terrific lively show, colourful, spectacular, engaging and very funny too. I would certainly recommend it.