Priscilla Queen of the Desert

Here she comes boys.... the granddaddy of all drag shows will be rolling it's bus into our town this winter.  For me, I got the chance to go see her out of town in Toronto this past weekend and let me tell you right now - it is going to be over the T.O.P - filled with glitter, glitz, and gay boys in outrageously colorful costumes singing campy pop hits.  One note, probably because there is already one ABBA show running on Broadway, the producers made a wise decision to change (and update) the young character's obsession from ABBA to Madonna.  A very wise choice, indeed. Who doesn't want to see 3 drag queens strutting their stuff to any number of Madge's tunes, right?

By way of background - I've never seen the movie (yes, i know, take my card away).  So this experience was a genuine first.  Many people have told me what the movie was like - and i can read too - but for me not having seen the movie might have made this production even more special.  I have a feeling, like so many iconic movies, no matter what they do on stage, everyone will say "it doesn't compare" or "the movie was so much better".   That's probably a losing battle for the producers so they don't even try to fight it.  Where they win is in the production quality (read camp) of the musical numbers.  Nothing beats a bunch of drag queens in outrageous costumes strutting their stuff on a broadway stage.  Throw in some really cool and over the top video projection and lighting effects and a book that keeps it gay gay gay and you end up with something that's destined for success on the great pink way.

Bringing a show like this to the stage is bound to introduce some complications to downsize and focus the book.  The fact that there was an actual bus on stage was a big score for the production.  Without that one rather large piece of technology, i doubt this show would ever have made it out of previews.  I would also think when it gets to the Palace, the first thing they'll do is remove the Chandelier in the middle of the theatre and replace it with one great big disco ball.  The one downside I feel obliged to highlight is that I didn't feel there was a very deep story being told.  Many have told me that the movie (remember, the inevitable comparison) was touching and tender as well as being campy and gay.  Well, if there is one thing this show is lacking, it's a deep story.  It felt a bit shallow, trimmed down and condensed for the sake of Broadway's unavoidable moderate, fun-loving audiences.

Despite this one minor drawback, the talent on the stage more than made up for lack of story.  Nick Adams (Felicia), Will Swenson (Tick) and Tony Sheldon (Bernadette) helm this production like no others could.  Adams, who most call a triple threat,  is drop dead gorgeous, unbelievably pliable and genuinely adorable all rolled up in one.  And folks, when I say hot, i mean burn your fingers off if you touch him HOT.  Swenson is tender and lovable and Sheldon takes Bernadette to a level I think only Charles Busch could compete with (Busch wasn't in the show, just for the record).

Ladies, when this bus rolls into town at the Palace Theatre you had better have exact change all lined up!  Next stop - Alice Springs!

Pal Joey

When the leading man hurts his foot and there's no time to find a replacement you do the only thing you can - throw the understudy to the wolves! Rogers and Hart's re-invented 1940 Pal Joey, Roundabout Theatre Company's final installment in 2008, made its lackluster debut tonight at Studio 54 less one Tony award winning cast member, Christian Hoff. I wish i could tell you it was a smash-hit and that Matthew Risch pulled a "Shirley MacClaine", but it was unfortuantely an all-around disappointment. When numbers in the show get polite applause (some, none at all) and not a single patron gets out of his seat at the opening night curtain call - it's quite obvious that we were all beguiled (again). I highly doubt that Mr. Hoff would have singlehandedly turned this lemon into lemonade. The entire performance left me more bothered and bewildered than bewitched.

To start with, Stockard Channing (Vera Simpson) is miscast. Ms. Channing (tv's West Wing) is a legendary 62 year old stage and

screen star who lacks one critical ingredient necessary for a musical - she can't sing. Joey Evans, the central character of this show needs to be, much like Charity Hope Valentine needed to be in Sweet Charity, a triple threat - singer, actor, dancer. Matthew Risch (Legally Blonde), while stunningly handsome and dripping with sexuality, unfortunately is only a single threat as a dancer. Singing, not so much. Acting, just average.

The stand-out performer in this show just might be Martha Plimpton (Top Girls, Cymbeline, The Coast of Utopia) as Gladys Bumps. Richard Greenberg's revised book eliminates the old reporter role played in the 1952 Broadway revival by Elaine Stritch, and gives the show-stopping number, Zip, to Ms. Plimpton, who knocks it out of the house in her musical theatre debut. If there were anyone to be even considered for a Tony in this production I hope it's Ms Plimpton.

I couldn't help but thinking that I would love to have seen the 1995 Encores! concert version staring Patti Lupone, Peter Gallagher, and Bebe Newirth. And just for the record, I did go home and listen to the legendary Elaine Stritch regale the audience in her hit show, At Liberty, with her role in Pal Joey in New Haven in 1952 at the Shubert Theatre at the same time she was understudying Ethel Merman in Call me Madam at the Imperial Theatre in New York.

As always, Paul Gemignani, does wonders with the orchestral direction. Graciela Daniele provides above average choreography by keeping the show pumping with lots of high kicks. bumping and grinding. Joe Mantello, on the other hand, has seemingly failed to nail any substantial new message or brilliant interpretation of the work. I would be remiss if I did not mention the extraordinary costumes assembled by William Ivy Long. If it's any consolation, Tony #2 from this overall disappointing production might just be his for the asking.