“Priscilla, Queen of the Desert,” now playing through Dec. 14 at the Manoa Valley Theatre, is a lively, robust but often campy jukebox musical. It’s a stunning exploration of drag queens, boasting spirited casting and characters, a non-stop cache of pop and disco tunes, splendid costumes, and energy to spare.
Good news, for only the “Priscilla” run: MVT has splendidly updated and expanded its capacity to 282 from 150, by adding extra rows of seats hugging both sides of the stage; and despite the cutback of seats — making the performance space smaller –the theater utilizes the floor space as extension of the stage, putting the action right in your face.
Further, a balcony above the stage set provides superior performance space, and houses a nine-piece orchestra with elbow room to deliver the volley of thumping, dance-centric live-band music.
The most welcome plus: MVT has reinstated the traditional playbill, making it possible to restore cast photos and bios, credits for the tech crew, director notes, roster of song titles and credits of all music played, and even in-house advertisements. All valuable innards, restored in playbills that herald back overdue rewards for playgoers, actors, and backstage artistry. So, all together now, a shout-out of thanks! (OK, we’ve cheered for a comeback of the playbill).
Despite its giddy and flamboyant overtones, “Priscilla” upholds serious real-life issues dealing with relationships. The tale here is about the trio of lead characters: Greg Zane as Bernadette, Andrew Simmons as Tick/Mitzi, and Henry Hawes as Adam/Felicia and their quest to find work and maybe some life pleasures in the Australian outback. Bernadette is the sane, sensible leader who drives a bus named Priscilla – a metaphor of the drag queens’ battered situation – in hopes of landing a job of sheen and propriety.
Zane is irresistible and irrepressible as Bernadette; in his real life, he was a ballet dancer who turned to acting, and transitioned to directing and choreographing musicals later in his career. He was inspired by his mentor, the late Tommy Aguilar of “A Chorus Line” fame. With his wig and makeup and attractive gowns, Zane represents a figure of courage and leadership — and while it’s hurtful, he’s been enduring the high heels, too.
Simmons and Hawes are like mismatched bookends, who play off each other and turn in supportve and touching performances in drag (wigs, sequins, feathers, and heels) and as gents with LGBTQ readiness.
One of their memorable number with Zane is “MacArthur Park,” delivered with earnest warmth, validating the emotional chemistry between Bernadette, Tick and Adam.
There’s a lot to praise, like the Divas, Nicole Villejo, Marie Chiyo Staples and Aurielle Polynice, who are splendid as a spotlighted trio on the main stage as well as from the overhead balcony.
There’s even a cutie pie in the ranks. Braeden Dillabaugh is making his MVT debut as Benji, the son of queer dad Tick. He delivers his lines as a youngster would, with proper articulation, and he’s got full acceptance of his dad’s choice in life. He even sings with the adults on “Always on My Mind,” late in the show, and has a couple of moments in gay garb, which surely must be fodder for conversation with his school chums.
If you’re a nostalgia fanatic, “Priscilla” is for you. The score boasts nearly 30 hits from the past, such as “It’s Raining Men,” “What’s Love Got to Do with It,” “I Will Survive,” “True Colors,” “I Love the Nightlife,” “Venus” and “Hot Stuff.” In ensemble numbers, it won’t be a crime to sing-along from your seat. And don your disco duds, and you’ll be in vogue, for “Girls Just Wanna Have Fun.”
Director David Weaver and set designer Willie Sabel must have worked hand-in-hand, to create the performance space – a tighter and abbreviated stage, to open up more seating – and redefine the entrances and exits for the actors. There are no doors, just a single silver curtain befitting a disco at the back of the stage.
There’s Priscilla the bus to reckon with, too, since it is a huge set piece with mobility issues. The turnarounds have been swift. Priscilla does its duty well.
Precision is the operative word – Weaver co-choreographed with Ahnya Chang, known for her lively, rigorous and candid vision – and their best work is in the vivid and even volatile prancing and dancing scenes amid Jenny Shiroma’s superb orchestral support, in the celebratory disco moments.
All this action is supported by spot-on lighting by Chris Gouveia, even with an extra burst or two of colorful twinkles overhead, and clear sound by Sarah Velasco and Timothy Manamtam, a treasure for the disco vibes.
And the vivid costumes by Emily Lane provide the flash and dash of kaleidoscopic hues for the queens, supported by Lisa Ponce De Lion’s trademark artistic power and tower in hair and makeup …
And that’s Show Biz…
‘Priscilla, Queen of the Desert’
A musical with book by Stephan Elliott and Allan Scott, based on the film by the same name
What: A musical comprising disco tunes supporting a story of drag queens seeking a better life in the Australian outback; pop hits of the 1990s dominate the soundtrack
Where: Manoa Valley Theatre
When: Performances through Dec. 14, with shows at 7:30 p.m. Thursdays, Fridays and Sundays; at 3 p.m. Saturdays and 4 p.m. Sundays; no performance on Thanksgiving
Tickets: $25 to $55, at (808) 988-6131, www.manoavalleythreater.com