WITH DISCO, DRAG AND DESERT DRAMA,
PRISCILLA GLITTERS AT PALM CANYON THEATRE

The Palm Canyon Theatre’s production of Priscilla, Queen of the Desert is a glittery, high-octane joyride packed with campy humor, outrageous costumes, and jukebox favorites that never quit.

Based on the beloved 1994 film, this jukebox musical bursts to life in a Sydney drag bar where Tick (Tegr Powell), “one of the girls,” belts out “It’s Raining Men,” followed by a cheeky cameo from Miss Understanding (a cheeky cameo by PCT regular Adam Hieter performing “What’s Love Got to Do With It” When Tick’s ex-wife calls from Alice Springs, located in the middle of Australia’s red-dirt desert, needing an act for her nightclub—and mentioning that their eight-year-old son wants to meet his father for the first time—Tick sets off across the outback in a secondhand bus he christens Priscilla, Queen of the Desert.

Joining Tick are his longtime friend Bernadette (Ron Coronado), a poised transgender woman, and Felicia (Noah Wahlberg), a wild, youthful drag queen with dreams as big as her wigs. The trio’s journey is both hilarious and heartfelt, filled with mechanical breakdowns, homophobia, and unexpected connections. Coronado, reprising Bernadette for the third time (after 2017 and 2019 productions), gives the character quiet dignity and depth that anchor the show’s emotional core. Powell, new to PCT, brings sincerity and strong vocal chops to Tick, though his grounded masculinity occasionally blunts the campy spark of his fellow queens. He displays considerable singing, dancing and acting chops though he is too masculine to be credible as a professional drag performer.  It seems the director was trying to make a point that it’s possible to be an ex-husband and a father and still be a drag performer, but when he joins in the campery between the three travelers, I think some of the queeny humor is lost.

Wahlberg, however, is the revelation as Felicia—his star power undeniable. A standout in last season’s My Fair Lady, he now commands the stage in heels, feathers, and fierce charisma. He is an incredible talent who should book a one-way ticket to Broadway as soon as this show closes. His beautifully androgynous face has always made me think, “He should sing, dance and act in drag.” With Priscilla, I got my wish and the audience absolutely lapped it up. I predict good things for him.

Early on their journey, our trio visits a redneck bar. Michele Davis nearly steals the first act as barmaid Shirley, gyrating through “I Love the Nightlife” with gleeful abandon; it was side-splitting, and even more so when I realized that Ms. Davis—who has a history of portraying stately, high-class ladies—was playing the delusional hick chick with plenty of (cosmetic) rolls of fat under her wife-beater t-shirt.

When Priscilla breaks down on the road, they are rescued by an amiable but dimwitted mechanic named Bob (Luke Rainey). He is able to patch up the bus enough that they can get back on the road, and he agrees to join them on their trip in case the bus has further issues. Bernadette is smitten by Bob and begins a very girlish flirtation with him. When he learns that she was a performer in Sydney’s long-running “Les Girls” (which he pronounces as “Less Girls”), he is star-struck. Despite being a clodhopper, Rainey is allowed to sing “A Fine Romance” and show off his magnificent baritone voice.

Another hilarious cameo was delivered by Dawn Donohue as Cynthia, Bob’s soon-to-be ex-wife. She has been banned from the local bar because, when she gets drunk, she insists on displaying her talent—propelling ping pong balls from a lower part of her anatomy. When she learns that the drag queens are going to do a show, she insists on joining in by displaying her skills. This beautiful actress is hilarious with Cynthia’s scheming demands.

Once the group gets to Alice Springs, they meet up with Tick’s ex-wife Marion (Jenia Rand) and more touchingly, his son Benji (a very talented Ari Rand). Tick doesn’t want his son to see him in drag, but Benji sneaks into the opening night performance and afterwards assures his dad that he thought his performance was wonderful and that he was very funny. He asks Tick to read him a bedtime story, but first he asks his dad to do an Elvis impersonation. As Tick stands up to do his Elvis moves, his son Benji jumps up on his bed and skillfully copies the moves, eliciting tears of delight from this reviewer—a perfect way to complete such a hilarious journey.

Director and costume designer Derik Shopinski keeps the production moving at a steady clip, juggling quick changes, drag extravagance, and heartfelt moments with ease. Very seldom does any character exit the stage without re-entering in a totally different costume and the outrageous drag outfits are amazing. Nathan Wilson’s choreography keeps the energy pulsing, while J.W. Layne’s set and lighting design lend a splash of Vegas glamour to the desert landscape. Hair and makeup by Adam Hieter, and music direction by Steven Smith (on piano, joined by Jim Watson on drums, Larry Holloway on bass, and John Pagles on guitar), complete a polished production that sparkles from overture to finale.

The team behind the scenes—including Stage Manager Stephen Davis, Dance Captain Sanai Wright, Sound Designer Nick Campbell, Headpiece Creator Mat Tucker, and Set Construction by Jackson Enzler and Mr. Davis—keep the glitter machine running flawlessly. By the time the queens reach Alice Springs, the audience is fully on board.

Palm Canyon Theatre’s Priscilla, Queen of the Desert isn’t just a spectacle—it’s a celebration of self-expression and chosen family. Glitter flies, laughter roars, hearts warm. What more could you want from a night in the desert?

photos by Tara Howard

Priscilla, Queen of the Desert
Palm Canyon Theater, 538 North Palm Canyon Drive in Palm Springs
Thurs at 7; Fri and Sat at 7:30; Sun at 2
ends on November 16, 2024
for tickets ($17-$38), call 760.323.5123 or visit PCT