The lure of road trips is etched into our cultural heritage — our approval of the need for restless city-bred feet to roam remaining undiminished even when they belong to three drag-queen showgirls, whose reasons for striking out for the wide-open spaces are likewise universal. Tick (professional name "Mitzi") wants to reunite with his estranged wife and son, transgender woman Bernadette (formerly "Ralph") seeks solace following the death of her husband, and Adam (stage name "Felicia") simply craves adventure. Presented with the prospect of a journey through Australia's outback in a ramshackle excursion bus (dubbed "Priscilla, Queen of the Desert" by its occupants), accompanied by a squad of rainbow-haired guardian muses trilling hit disco-era anthems, who wouldn't cheer on these sequined-and-feathered pilgrims as they brave obstacles natural (rain and sand), industrial (engine failure) and social (homophobic hicks) in a quest for their hearts' desires? Pride Films and Plays faces an additional obstacle in this inaugural production. The newly christened storefront at 4139 North Broadway boasts an authentic deco-vintage auditorium, but its stage is a decidedly tight fit for an aesthetic characterized by floods of dazzling extravagance. Director Derek Van Barham utilizes every available inch of the venue’s interior, however. Assisted by designers Jeremy Hollis, J. Max Maxin and Mealah Heidenreich, peripheral scenes play out on the perimeter gallery and the sturdy title vehicle is realized through a combination of old-school and hi-tech stagecraft. John Nasca's array of shimmering gowns supply the requisite level of glitter-and-glam fabulosity, while Jon Martinez' choreography for the high-kicking chorus renders the action so intimate that the impact of spike heels striking floor can be felt by front-row spectators. None of this would matter an old mascara wand without a cast oozing charm and conviviality. The fluid ensemble led by Chicago icon Honey West, flanked by Luke Meierdiercks as the swaggering Adam and Jordan Phelps as the sensitive Tick, command the room with the presence of parade floats, as do Aaron C. Reynolds, Jill Sesso, Tuesdai B. Perry and Rebecca Coleman's Miss Understanding and the Divas. Book writers Stephen Elliott and Allan Scott might be advised to lose the offensively outdated "Pop Music" number, but their uplifting message of empowerment continues to be a rallying cry to gender rebels everywhere.
