REVIEW: Priscilla, Queen of the Desert - Paterson Productions

Presented by Paterson Productions

Venue: Twelfth Night Theatre

Directed by Sam Caruana

Musical Direction by Mark Mirhan

Choreography by Kamara Albertson

Photography: PIF Productions Kenn Wylchi Santos

There’s something about Priscilla, Queen of the Desert that makes you want to grab your boa and live loudly! Based on Stephan Elliott’s beloved 1994 film, the story follows drag queens Tick and Adam and their glamorous trans friend Bernadette as they travel from Sydney to Alice Springs in their lavender bus “Priscilla.” It’s set in the 1990s, when queens weren’t exactly common in regional Australia... and the trio’s road trip becomes a sparkling odyssey of friendship, identity, and acceptance, served with disco bangers and a whole lot of high heels!

From the first glitter explosion of “It’s Raining Men,” the powerhouse Divas (Alexis Lee, Claire Sutton, Eleanor Grieve) had the crowd in the palm of their hand. From there, the dance floor never cooled down. Kamara Albertson’s choreography made every number pop. If there was a disco move that existed, it was in there! The large ensemble filled the stage for “Go West,” delivering powerhouse vocals and precision chorie that brought the house down.

Simon Chamberlain stole the show as the glitzy and spunky Felicia. Simon is the complete package: singer, dancer, actor, and queen! His performance of “Venus” was electrifying, and his La Traviata lip-sync moment from the orchestra pit (complete with bubbles) was epic. He finally fulfilled his dream of performing Kylie Minogue atop Uluru, his high notes so powerful they nearly blew the roof off. He could also deliver zingers better than a stand-up comedian, and could strut in heels better than most of us can manage in sneakers. Honestly, his legs and dance agility in heels put me to shame. And that blonde wig was pure Hannah Montana.

Jason Miller gave Tick/Mitzi a warm, soulful centre. His “I Say a Little Prayer” was tender and gorgeously sung, building to full diva glory. Later, his big number “Cake (Out in the Rain)” showed off a powerful voice and a delightfully cheesy showman grin. Adam Bartlett’s Bernadette, meanwhile, was the emotional anchor of the show. With poise and dry wit, Bartlett embodied a woman who’s seen it all but still has room for love and compassion. The way he commanded a scene with a single eyebrow raise or cutting remark was delicious. His chemistry with David O’Keeffe’s sweet, rugged Bob gave the show romantic grounding; their connection blossoming with warmth and gentle humour.

Among the supporting cast, Vanessa Chuah absolutely nailed Cynthia’s iconic ping-pong number, blocked to perfection for maximum comedy. Meg Hargraves as Marion gave lovely groundedness. Patricia Dearness and Caleb Holman added Aussie flavour in their featured turns. Special shout-outs to Sunny J, Mikey Searle, and Meggie Ryder, whose energy among the dancers were standout. And when Clayton Eltis led “Thank God I’m a Country Boy,” complete with a Nutbush moment, it was peak Aussie mood. Fraser Goodreid (alternating with Spencer Goodreid) melted hearts as young Benji. Watching him proudly admire his dad dressed as Mitzi during “Always on My Mind” was genuinely moving. The tenderness of that scene cut through the glitter and disco, grounding the show in real love and acceptance.

The mascs in the cast could do it all: intimidate the queens one minute, and then become queens the next! Blonde Diva Claire Sutton shone in “Girls Just Wanna Have Fun,” effortlessly hitting sky-high notes as Simon joined in to show off his own impressive belting ability. Highlights were plentiful: the riotous “Don’t Leave Me This Way” (the most fun funeral I’ve ever attended), the chaotic karaoke night at Broken Hill with mullets galore, the heartfelt “True Colours” trio, and the disco inferno of “I Love the Nightlife”. The live band, led by musical director Mark Mirhan (in a wig), was flawless from start to finish. Every hit song landed perfectly, and the brass section had the audience bopping in their seats during “Boogie Wonderland.” These lush orchestrations gave new life to the jukebox classics, from “Hot Stuff” to “I Will Survive.”

And speaking of surviving, what a feat of design! The bus itself, built by Gary Winsen and Samantha Paterson, rotated smoothly from its tin-covered exterior to a glitter-bomb interior worthy of a Vegas nightclub. During “Colour My World,” Tom Dodds’ lighting turned it into a rainbow beacon in the outback night. Lachlan Hall’s drag costumes and elaborate wigs were jaw-dropping, each reveal more outrageous than the last, from floral bodysuits to a dress made entirely of thongs (the footwear kind). Supported by Milton Redshaw’s wardrobe management and Rosie Humphreys’ ingenious quick-drag makeup masks, every transformation felt like pure stage sorcery.

The audience was gloriously rowdy, whooping, laughing, gasping, and wincing at the sting of the show’s moments of homophobic slurs. It was a vivid reminder of how far we’ve come, and how vital stories like this still are. “We Belong” wrapped the journey up with heartfelt warmth before the megamix sent us out dancing and grinning. It was a joyful, unapologetically queer celebration of drag artistry, self-expression, and friendship.

Director Sam Caruana steered this production with a sure hand and a beautiful heart. His vision balanced the show’s outrageous camp with real emotional depth, allowing moments of silliness and sincerity to coexist beautifully. The pacing was tight, the transitions slick, and the humour landed every time. Caruana’s eye for detail shone through in the character work and the clever staging, particularly in how the bus was incorporated. It was clear the cast trusted their director completely, and that sense of camaraderie radiated from the stage.

With powerhouse performances, Aussie humour, impeccable design, and dance moves for days, Priscilla, Queen of the Desert was everything I hoped it would be and more. If I hadn’t attended the final performance, I would have definitely gone again! Huge congratulations to Samantha Paterson, Sam Caruana, and the entire creative team for a production that not only looked spectacular but felt it too. This bus is going places.