Hers Review · Paula Parore
Disco Balls, Fabulous Frocks and a Whole Lot of Heart!
“Sometimes the best theatre is the kind that makes you forget your troubles for a few hours. Priscilla did exactly that!”
Disco Ball Chic Meets Reviewer Blacks!
Opening night at the Regal Theatre, and the dress code was Disco Ball Chic!
Naturally, Clay and I rocked up in our trusty reviewer blacks. Someone has to blend into the background while everyone else sparkles!
One of the things we love most about opening nights is seeing familiar faces coming together to support the arts. Performers, creatives, theatre lovers and supporters, all celebrating the incredible talent we have right here in Perth.
We’ve had the pleasure of working with HAMA Productions a few times now, and one thing we can confidently say is that the magic doesn’t just happen on stage.
Behind every production are countless hours of rehearsals, costume fittings, technical preparation and people working tirelessly to bring a vision to life. As performers ourselves, we know what goes into making a show happen, and we never take that effort for granted.
And with Priscilla, there’s certainly plenty happening!
The Story Behind the Sequins
Set in 1994, Priscilla Queen of the Desert – The Musical follows three fabulous and very different performers travelling across the Australian outback aboard a battered bus affectionately named Priscilla.
Tick (Mitzi), Bernadette and Adam (Felicia) embark on a journey from Sydney to Alice Springs, bringing outrageous costumes, larger-than-life personalities and a soundtrack packed with disco classics.
But beneath the sequins, feathers and fabulous musical numbers is a story about friendship, acceptance, identity, family and finding the courage to be yourself.
It’s loud, colourful, cheeky, occasionally confronting and surprisingly heartfelt.
The show is set in a very different social era, and some of its language and attitudes reflect that time. It’s part of what makes the story both entertaining and, at moments, uncomfortable.
The Show Before the Show
The evening began with a wonderful live Acknowledgement of Country delivered by Mitchell Walley.
There’s something particularly meaningful about seeing an Acknowledgement delivered live on stage. It brings a genuine sense of connection and respect to the space before the performance begins.
And then came Miss Understanding!
Alexis Armstrong (aka Sam Williams) stepped into the fabulous heels of Miss Understanding and delivered what can only be described as a masterclass in working an audience.
Hilarious, quick-witted and completely comfortable commanding the room, Alexis had everyone engaged from the moment they appeared.
Having seen Sam perform in their own shows, we knew we were in for a treat.
What impressed me most was their ability to read the room and adapt on the spot. With a few latecomers still making their way into the Cockatoo Lounge, Alexis effortlessly extended the banter, keeping everyone entertained without making it feel like we were waiting.
That’s a skill in itself!
The introduction also cleverly prepared audiences for the show’s 1994 setting, explaining that some of the language and themes reflected the attitudes of that period.
It was informative without being preachy, funny without losing the message, and a genuinely clever way to set the tone.
Between Mitchell’s Acknowledgement of Country and Alexis’s pre-show entertainment, this was one of the best introductions to Priscilla I’ve experienced.
And the scarves handed out at the door? A fabulous little touch that made the audience feel part of the celebration before the curtain had even risen.
Three Queens, One Unforgettable Journey
Manuao Te Aotonga – Bernadette | A Performance That Made Me Proud
Now, this is where my heart gets a little full.
Manuao Te Aotonga, take a bow, brother!
For me, Manuao was the standout performer of the evening, and not simply because of the beautiful vocals or the elegance brought to Bernadette. There was something much deeper about this performance that genuinely moved me.
As a proud Māori woman, seeing another Polynesian brother standing on that stage, owning his space and delivering such a beautifully nuanced performance just makes me so bloody proud!
There’s something incredibly special about seeing our people represented in theatre, particularly in roles that allow them to demonstrate the full breadth of their talent.
And Manuao did exactly that.
Bernadette is a wonderfully complex character. Beneath the sharp wit, fabulous wardrobe and perfectly timed one-liners is someone who has lived, loved, lost and learned to protect herself from a world that hasn’t always been kind.
She’s strong, vulnerable, fiercely loyal and carries herself with a dignity that comes from knowing exactly who she is.
What I loved about Manuao’s interpretation was that none of this felt forced.
There was a beautiful stillness in the performance, a quiet confidence that meant Manuao didn’t need to fight for attention or overplay the character to command the stage.
Stoic, elegant, graceful and beautifully grounded.
And those vocals!
Warm, controlled and full of emotion. But what impressed me most was the storytelling behind the singing. It wasn’t simply about hitting the notes. It was about making us feel the person behind them.
Manuao beautifully balanced Bernadette’s sharp humour with moments of tenderness. One minute she’s delivering a wonderfully cutting remark, and the next you catch a glimpse of the loneliness and vulnerability beneath that polished exterior.
That takes a performer who understands the emotional layers of a character.
And then there’s the cultural pride I felt watching him.
Growing up, we didn’t always see people who looked like us represented in every corner of the performing arts. So when I see a Polynesian performer confidently stepping into a role like Bernadette, bringing their own presence, artistry and authenticity to the stage, it means something.
Representation matters. Not because we need to be defined by where we come from, but because our stories, our voices and our talents deserve to be seen everywhere.
What makes me even prouder is seeing our people excel in roles where their ethnicity isn’t the defining feature of the character. They’re simply brilliant performers doing what they do best.
Knowing Manuao is also a makeup artist makes me appreciate that creative talent even more.
For me, Bernadette was the emotional anchor of the three leads, and Manuao brought a maturity, elegance and humanity to the role that made the character feel genuinely lived in.
Manuao, you didn’t just look fabulous up there. You made me feel something.
And that’s what great theatre is all about.
From one proud Polynesian to another — ka mau te wehi, brother!
You made this Māori wahine very, very proud.
Cougar Morrison – Tick/Mitzi
I’ve had the pleasure of seeing Cougar perform this role previously at both Crown and the Regal Theatre, and I have to say, this character really does sit comfortably on Cougar’s shoulders.
There’s an endearing quality to Cougar’s portrayal of Tick. Beneath the glamour and theatricality, you can see the father trying to navigate his own identity while finding the courage to connect with his son.
Cougar brings natural warmth to the role, along with strong vocals and a lovely sense of vulnerability.
It’s a performance that feels lived in, and there’s something to be said for an actor who knows their character so well that the audience can simply relax and enjoy the journey.
Jake Whitelaw – Adam/Felicia
Now, Felicia!
Every friendship group has that one younger sibling who knows absolutely everything, has an opinion about absolutely everything and somehow manages to get under everyone’s skin.
That’s Felicia.
And Jake played that annoying little brother energy brilliantly!
Brash, entitled, cheeky and occasionally completely insufferable, but in exactly the way the character needs to be.
Jake brought the youthful chaos that balances Bernadette’s composure and Tick’s more grounded personality.
What I particularly enjoyed was the chemistry between the three leads.
Their relationships felt believable, with genuine affection beneath the bickering. The dynamic reminded me of two longtime friends travelling with their very annoying younger brother.
The teasing, frustrations and moments of tenderness created a friendship that felt authentic.
And really, that’s the heart of Priscilla.
The Divas, the Laughs and the Ensemble
The Three Divas – Looking Fabulous, Finding Their Groove
Elaina O’Connor, Eva Simone and Shakira Goltman
Visually, the three Divas were absolutely spectacular!
Elaina O’Connor, Eva Simone and Shakira Goltman brought all the glamour, sparkle and fabulousness you’d expect from Priscilla. These three talented young women looked incredible, brought wonderful energy to the stage and each had their own individual vocal qualities to offer.
And let me say, there is some serious talent among these ladies!
As a vocalist myself, I naturally listen closely to vocal arrangements, harmonies and the way different voices complement one another.
For me, the one area I would have loved to hear developed further was the overall vocal blend of the trio.
When I think of the Divas in Priscilla, I think of those rich, soulful harmonies, beautiful lower tones and that wonderful fullness you get when three distinct voices come together as one.
I felt there were opportunities to explore more three-part harmonies and a stronger alto foundation to give the musical numbers that extra depth and warmth.
This isn’t about any of the ladies needing to sing louder or do more individually. Quite the opposite! Sometimes the magic comes from allowing each voice to find its place within the arrangement, creating something even more powerful together.
I also would have loved to see the Divas woven more naturally into some of the scenes, allowing their fabulous presence to become an even greater part of the storytelling.
These are creative observations rather than criticisms of the performers themselves, because the talent and commitment were certainly evident.
And I want to acknowledge just how much work goes into performing roles like these. The Divas are an essential part of Priscilla’s musical identity, requiring vocal stamina, precision, confidence and plenty of personality.
Elaina, Eva and Shakira should be incredibly proud of what they’ve brought to this production.
The glamour was there, the talent was there, and with a little more richness in the vocal arrangements, I think these three fabulous ladies could shine even brighter!
Bella McSporran – Absolutely Hilarious!
Now we need to talk about Bella McSporran as Shirl.
Oh. My. Goodness.
Bella had me laughing so hard my belly actually hurt!
There was nothing tentative about this performance. Bella completely committed to the character, and that commitment made Shirl absolutely hilarious.
The delivery, expressions, timing and sheer audacity were spot on.
Sometimes performers try too hard to be funny, but Bella simply was funny.
Completely believable, wonderfully outrageous and one of the biggest comedic highlights of the evening.
The Ensemble Deserves Its Flowers
While the three leads carry the story, a production like Priscilla simply cannot work without a strong ensemble.
And HAMA Productions certainly has a talented young ensemble!
From rapid costume changes and character transformations to the energy required for those big musical numbers, there’s an enormous amount of work happening around the principal performers.
Jonathan Versaci was a particular standout for me, with a strong stage presence that continually caught my attention.
And Rylee Hollis — what an exceptional dancer!
Rylee’s movement, energy and performance quality really stood out. In a show filled with so much visual stimulation, it’s quite something when an individual performer can still catch your eye.
One thing I did feel was missing, however, was a little more age diversity within the ensemble.
While the younger cast brought wonderful energy, enthusiasm and talent, I would have loved to see a few more mature performers included in the mix.
Priscilla takes us through different communities, personalities and walks of life across the Australian outback, and a broader range of ages would have added another layer of authenticity to those encounters.
The young talent was absolutely there. I just would have loved to see a few more seasoned faces sharing the spotlight!
Fabulous Frocks and Technical Magic
Costumes, Costumes and More Costumes!
Can we please take a moment for the costumes?
Because WOW!
Marina, take a bow!
The costumes were spectacularly stunning. The colours, textures, outrageous silhouettes, sparkle and sheer variety of looks were a feast for the eyes.
Having worked in musical theatre myself, I can only imagine the hours spent designing, creating, fitting, adjusting and maintaining these costumes.
And then there’s the backstage team responsible for getting everyone in and out of them!
Every time I thought we’d seen the most fabulous outfit of the evening, another one appeared.
Everyone looked spectacular.
And I may have spotted a certain cheetah-print dress that looked suspiciously like my Motormouth Maybelle costume from Hairspray.
I SEE YOU! That’s my dress! Hahaha!
Honestly, the costumes alone are worth the price of admission.
Staging, Sound and Lighting
One of the biggest challenges with this musical is, of course, the bus.
Priscilla isn’t just a piece of scenery. She’s practically another character.
The production made excellent use of the bus, bar and other staging elements to move us between locations and keep the story progressing.
The automation was particularly impressive, considering the space and complexities of moving such a large scenic element.
There were a couple of minor glitches with the bus rotation, but nothing that significantly interrupted the performance.
Opening nights can be unpredictable, and technical theatre is an enormous team effort.
Sound – Josh Mills
From where I was sitting, the sound was excellent.
The balance between vocals and music was generally strong, dialogue was clear, and there were minimal noticeable issues.
For an opening night, that’s a great result, particularly in a show with so many musical numbers and moving performers.
Lighting – Richard Timms
The lighting beautifully captured the atmosphere of the production.
From bold, colourful disco moments to more intimate and emotional scenes, Richard’s lighting helped establish the mood and bring the world of Priscilla to life.
With so much sparkle and movement on stage, lighting plays a huge role in making everything look as fabulous as it should.
And it certainly did.
So, Did Priscilla Deliver?
I’ve seen Priscilla Queen of the Desert a few times now, so naturally I came into this production with a few comparisons in mind.
And here’s where I always try to be fair.
Was I entertained? Absolutely!
Was this a good production of Priscilla? Yes, it was.
Is it the best version I’ve seen? No, but it’s still a pretty good one!
Would I see it again? Absolutely! I want to see Barbie Q take on Miss Understanding too!
Was it worth the ticket price? Without question. Those costumes alone are worth seeing!
And perhaps the most important question of all…
Did it make me forget my troubles for a couple of hours?
Yes, it blimin did!
And isn’t that one of the most wonderful things about live theatre?
HAMA Productions has delivered a colourful, energetic and thoroughly entertaining production, with beautiful performances, spectacular costumes and plenty of laughs.
There were a few creative elements I would have loved to see explored further, particularly the richness of the Diva harmonies and greater age diversity within the ensemble. But these are opportunities to build on an already talented company, rather than shortcomings that diminish the joy of the production.
Manuao Te Aotonga was my standout performer, Bella McSporran had me crying with laughter, and the entire company deserves recognition for the work that goes into bringing a production of this scale to life.
Congratulations to HAMA Productions and everyone involved.
And to our wonderful Perth arts community, keep showing up, keep buying tickets and keep supporting local theatre.
Because without an audience, even the most fabulous bus in Australia has nowhere to go.
Sometimes the best theatre isn’t necessarily the best production you’ve ever seen.
Sometimes the best theatre is the kind that makes you forget your troubles for a few hours. Priscilla did exactly that!
HERS FINAL RATING
4/5 MASKS 🎭🎭🎭🎭
Disco balls, fabulous frocks and a whole lot of heart. Priscilla is well worth the ride!
Reviewed by Paula Parore (Hers) His & Hers Media
