Queen of the Stage

The creative journey of a bus named Priscilla

See it up close with a guided tour of the Australian Performing Arts Collection’s new storage, research and education facility.

Three quarter side view of grey model bus with open panel to interior. Inside features brightly coloured miniature furnishings including of a rounded edge bench, hills hoist clothesline, table and two chairs, banana style seat, leopard print covered driver’s seat, pink sheep and steering wheel. Three panels with an image of a sunset and palm tree hanging on long interior wall of bus. A sign above the windscreen reads ‘Priscilla’ in pink lettering.

The Australian stage musical Priscilla, Queen of the Desert premiered at Sydney's Lyric Theatre in 2006. Based on Stephan Elliott's ground-breaking 1994 film The Adventures of Priscilla, Queen of the Desert, the live theatre version has now played on stages in 30 countries around the world.

Central to the story is the bus named Priscilla – the vehicle that travels from inner Sydney to the Australian outback, carrying two drag queens, Mitzi Mitosis and Felicia Jollygoodfellow, along with transgender woman Bernadette Bassenger. Creating this crucial set piece for the stage was a challenge requiring both practical and imaginative solutions.

Set designer Brian Thomson took on the task, embarking on a lengthy creative process as the bus developed over successive productions. His vision incorporated an innovative use of technology and captured the joyous spirit of the show.

Over the past 20 years, Thomson has donated his extensive career archive to the Australian Performing Arts Collection, and generously discussed his design process. Curator Margaret Marshall shares insights from these conversations and the creative adventures of Priscilla, Queen of the Desert. 

Front view of grey model bus. Inside features a leopard print driver’s seat and bright pink steering wheel and three miniature cacti. The front is decorated with tinsel and figurine. A sign above the windscreen reads ‘Priscilla’ in pink lettering. The yellow licence plate reads ME69NU in black text. A large silver glittery high heel shoe sits on top of the roof of the bus.

Bus model, New York, 2011. Made by Robert Dein.

Bus model, New York, 2011. Made by Robert Dein.

Creative Concept

Side view of 3D bus model made of white cardboard with printed black lines depicting windows, wheels and side panels.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Brian Thomson AM is one of Australia’s foremost stage designers, with a prolific career spanning over 50 years. Commissioned by leading companies and performers in Australia and internationally, his work encompasses musical theatre, drama, opera, and film, as well as major events.

After studying architecture, Thomson established himself as an inventive designer early in his career. He gained attention with Jesus Christ Superstar in Australia and London in the 1970s, along with the original stage production and cult film of The Rocky Horror Show.

In 1996 he won a Tony Award for The King and I on Broadway. His other musicals include The Boy From Oz with Hugh Jackman, Keating! and Shane Warne, the Musical. He also designed Kylie Minogue's 1999 Intimate and Live tour, and Dame Edna Everage's shows Housewife Superstar! (1977), Back with a Vengeance (2004), Eat Pray Laugh! (2013) and Dame Edna's Glorious Goodbye (2015).

He was supervising designer for the Sydney 2000 Olympic Games closing ceremony, created large-scale effects on Sydney Harbour Bridge for New Year's Eve celebrations, and devised productions for Handa Opera on Sydney Harbour.

Head and shoulders image of man with grey hair and brown eyes. He is wearing a black top and looking directly outwards.

Brian Thomson. Photograph by Hugh Hamilton.

Brian Thomson. Photograph by Hugh Hamilton.

Thomson's signature design style uses bold, three-dimensional set elements to create a strong point of focus. This was an ideal approach for creating a bus on stage but Thomson was also open to other methods.

“The first thing I asked the producer Garry McQuinn was, ‘Do you want a bus? I mean, do you want a physical bus on stage, or are we going to find other ways of doing it?’ And Garry said, ‘No, no, I want the bus!’”

Thomson began by finding reference material and, with his assistant Nick Dare, measured actual buses to come up with a size that could work on stage: "It wouldn't be too small to look silly, and it wouldn't be too big to be unusable."

They created a series of cardboard models to conceptualise the shape and exterior features of the bus. Thomson presented these to the producers and creative team at a workshop early in the show's development.

But Priscilla was more than just an average bus. Thomson's brief was for a complex stage element:

“You’ve got to be able to see the outside of the bus. You’ve got to see the inside of the bus. There’s got to be somebody on top and a big shoe and it needs to travel.

And then there’s the illusive thing – it has to change colour. It has to get painted during the show.”
Side view of 3D bus model made of white cardboard with printed black lines depicting windows and wheel hubs. Wheels attached separately – one at front and two at rear.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Side view of 3D bus model made of white cardboard with printed black lines depicting windows and wheel hubs. Wheels attached separately – one at front and two at rear. Side panel of bus is hinged open to show empty interior.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Front view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, and yellow headlights. The name Priscilla printed in black above windscreen.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Three quarter side view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, grey/green tyres and yellow headlights. The name Priscilla printed in black above windscreen.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Side view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, and grey/green tyres.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Three quarter side view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, grey/green tyres and red taillights. Printed text on rear grill reads ‘Rear Entry Upon Request’.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Rear view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling and red taillights. Printed text on rear grill reads ‘Rear Entry Upon Request’.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Front view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, and yellow headlights. The name Priscilla printed in black above windscreen.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Three quarter side view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, grey/green tyres and yellow headlights. The name Priscilla printed in black above windscreen.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Side view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, and grey/green tyres.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Three quarter side view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, grey/green tyres and red taillights. Printed text on rear grill reads ‘Rear Entry Upon Request’.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Rear view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling and red taillights. Printed text on rear grill reads ‘Rear Entry Upon Request’.

Cardboard bus model, Australian production, 2006. Made by Nicholas Dare.

Mechanical Mastery

Ring bound book open to page of printed designs showing front and rear elevations of bus with typed annotations. Mainly black and white with some coloured highlights on bus components.

Design for UK bus, front and rear elevations, 2008. Drawn by Nicholas Dare.

Design for UK bus, front and rear elevations, 2008. Drawn by Nicholas Dare.

Realising the design for the original Australian production involved creative thinking and clever solutions. The first Priscilla was constructed using the front of a real bus with a back built onto it. The exterior was made of vacuum form plastic that was sent out from the United Kingdom and required much testing.

A ring revolve stage was used to rotate the remote-controlled bus and hide it from view as needed. The large silver shoe was 'flown' in during interval and set on a track that enabled it to extend out over the audience.

Changing the colour of the bus proved more difficult. Thomson and his technical team considered using different coloured panels that could be flipped or removed. Then, in an appropriate location, inspiration struck:

“I was in a bus going to the Opera House, I think, and as I drove down Oxford Street and through the city, I thought, ‘This is crazy! We should just light the bus with lighting like we do everything on stage.’ And I don’t mean to just light it in different colours, I mean to actually put light sources in it so it could emanate the colour.”
“It could go from a dull, shabby grey… and then light up and be pink.”
Three performers looking out through front windscreen of a bus, lit with red stage lighting. Driver wears a red shirt with ruffles on front, middle passenger in cream shirt and sparkly beige cardigan, and passenger on right in white top and bright pink feather boa.

Jeremy Stanford (Tick), Tony Sheldon (Bernadette) and Daniel Scott (Adam), Lyric Theatre, Sydney, 2007. Photograph by Jeff Busby.

Jeremy Stanford (Tick), Tony Sheldon (Bernadette) and Daniel Scott (Adam), Lyric Theatre, Sydney, 2007. Photograph by Jeff Busby.

Black and white printed diagram of stage in plan view. Includes circular shape for revolving stage, rectangle representing bus, arrows, and annotations. Scene title is Nightlife Playout.

Scene drawing, Regent Theatre, Melbourne, 2007.

Scene drawing, Regent Theatre, Melbourne, 2007.

Theatre stage with bus against red background. Bus open at side to show interior filled with colourful furniture and decorations including fringed curtains printed with palm trees. Four performers inside bus: one standing, two seated at table drinking tea, and one seated at steering wheel. Bus lit on exterior with pink round lights. Three female performers wearing red wigs and long dresses suspended above.

The Divas, Daniel Scott (Adam), Tony Sheldon (Bernadette), Michael Caton (Bob) and Jeremy Stanford (Tick), Lyric Theatre, Sydney, 2007. Photograph by Jeff Busby.

The Divas, Daniel Scott (Adam), Tony Sheldon (Bernadette), Michael Caton (Bob) and Jeremy Stanford (Tick), Lyric Theatre, Sydney, 2007. Photograph by Jeff Busby.

The original bus was a self-contained unit with batteries installed to light and move the vehicle. Inverters were required to change the current but the amount of power needed kept causing the units to fail. Replacements had to be sourced from across Australia and around the world to get the show up and running.

Thomson recalls that the very first preview which was done for an AIDS charity, had numerous stops due to technical issues:

"The show which had started at 7.30 or something, didn't finish until one o’clock and most of the people by then had given up and gone home. It wasn't a very pleasant experience… and it was a bit of a foreboding for what was going to be in the future for that kind of technology."

It took several years and revisions until the bus was connected to power through the stage floor, ensuring a reliable operation. Despite the early problems, however, the bus quickly became a much-loved part of the show. Peter Craven from Melbourne's The Age called it a "bus from theatre heaven", describing the technical effects as a "coup de theatre".

“The now revered bus also gets applause, as it opens up at the sides and changes colours like a desert chameleon.’’
Martin Portus, Sydney Star Observer, 2006
Theatre stage with grey bus illuminated with small round purple lights. Dark background with yellow light representing the moon. Red and yellow sign suspended on right in front of bus with text ‘Welcome to Coober Pedy’ and illustrated warnings about deep shafts. Three performers standing in front of bus and sign.

Michael Caton (Bob), Tony Sheldon (Bernadette) and Jeremy Stanford (Tick), Lyric Theatre, Sydney, 2007. Photograph by Jeff Busby.

Michael Caton (Bob), Tony Sheldon (Bernadette) and Jeremy Stanford (Tick), Lyric Theatre, Sydney, 2007. Photograph by Jeff Busby.

Theatre stage with bus illuminated with small round green lights and set against dark blue background. Three female performers standing on top of bus wearing tall red wigs and long green costumes with high scalloped-edged collars. Five performers standing in front of bus, each holding a clear plastic umbrella and wearing a green costume with skirt representing a cupcake and hat with upright yellow candle.

'Macarthur Park', The Divas and company, Lyric Theatre, Sydney, 2007. Photograph by Jeff Busby.

'Macarthur Park', The Divas and company, Lyric Theatre, Sydney, 2007. Photograph by Jeff Busby.

Personality and Place

Ring bound book open to page of printed design showing side view of bus. Shape of bus outlined in black with colour interior decoration including blue textured lining, three panels with image of a palm tree and sunset, and leopard print driver’s seat.

Design for UK bus, section through centre, 2008. Drawn by Nicholas Dare.

Design for UK bus, section through centre, 2008. Drawn by Nicholas Dare.

The interior of the bus was also a balance between aesthetics and practicality. Thomson's concept drew on the storyline of the bus being purchased by the character Adam/Felicia, so the main decorative elements reflected their taste. The cabin, which was mainly occupied by the character of Bernadette as the driver, incorporated animal print textiles to match her personal style.

Ring bound book open to page of printed design showing three cross sections of bus interior with typed annotations. Left section shows blue and black spotted area and panel with image of a palm tree and sunset. Middle and right sections show yellow and black leopard print seat and dashboard above blue and black spotted area.

Design for UK bus, sections A, B and C, 2007. Drawn by Nicholas Dare.

Design for UK bus, sections A, B and C, 2007. Drawn by Nicholas Dare.

Kewpie dolls – left over from a production of Summer of the Seventeenth Doll – hid power adaptors and cords in the original bus. A set of double bunk beds were located in the back to cover the space where a technical operator was hidden behind a curtain. In later versions this element was removed as the operator was located elsewhere.

Mechanical components of the bus were initially accessed from inside. This meant nothing could be put in until technical issues were resolved. For the first production, Thomson's team had to wait until very late in the technical rehearsals to dress the bus:

“It was just before the first audience that we were given a couple of hours to kind of just throw as much stuff into the bus as we could!”
Three performers grouped inside open stage bus. Driver seated at right wears an orange coloured dress with leopard print scarf. Passenger in middle sits with legs tucked to the side, leaning on one arm and wearing pink patterned jacket and bright pink feather boa. Passenger standing at left wears floral print open shirt and holds a martini glass. Brightly coloured bus interior visible behind the figures.

David Harris (Tick), Euan Doidge (Adam) and Tony Sheldon (Bernadette), Regent Theatre, Melbourne, 2018.

David Harris (Tick), Euan Doidge (Adam) and Tony Sheldon (Bernadette), Regent Theatre, Melbourne, 2018.

The design was eventually neatened up with specific elements allocated. However, even for the London production in 2009, all the interior contents were built into panels that could be removed if access to technical equipment was needed.

Bright pink ring binder with coloured tabs along right edge. Open to white page with swatch of blue fake fur with black spots attached. Printed and handwritten annotations. Page labelled: B1 Blue Fur.

Folder containing prop information, New York, 2011.

Folder containing prop information, New York, 2011.

Bright pink ring binder with coloured tabs along right edge. Open to white page with swatch of rainbow coloured fake fur. Printed and handwritten annotations. Page labelled: B5 Bus Chair Upholstery.

Folder containing prop information, New York, 2011.

Folder containing prop information, New York, 2011.

Bright pink ring binder with coloured tabs along right edge. Open to white page with two printed images of ice bucket in the shape of a yellow pineapple. Heading text: Priscilla Props. Page labelled: #B13 Plastic Pineapple Ice Bucket.

Folder containing prop information, New York, 2011.

Folder containing prop information, New York, 2011.

Bright pink ring binder with coloured tabs along right edge. Open to white page with printed image of pink and yellow registration sticker. Text includes: ‘1995 Sept 30’ in black and ‘Priscilla’ in rainbow coloured cursive lettering.

Folder containing prop information, New York, 2011.

Folder containing prop information, New York, 2011.

The other scenic elements on stage provided a sense of location for the story. They also served the practical purpose of concealing technical equipment and allowing for hidden onstage costume changes by cast members during the show.

White page with image of set element. Stylised version of Sydney Harbour Bridge in white, set against black sky with stars, positioned above silver-blue fringed curtain. Components framed at top and sides by panels of bright pink and orange representing a sunset. Page title below image: London Portal – Harbour Bridge.

Scenic design for the Sydney Harbour Bridge, 2008. Drawn by Pip Runciman.

Scenic design for the Sydney Harbour Bridge, 2008. Drawn by Pip Runciman.

These elements began as simple cardboard shapes that Thomson later designed to represent particular objects. He reveals, "That's why it's all got a very two-dimensional look to it… And then I added that element of the perspective, so they weren't all just boring things."

Thomson also reasoned that because the scenes were set inside places, the audience should view the back of the buildings. "And weirdly enough, nobody ever asked me 'Why are the signs backwards?'"

White page with image of set element and printed annotations. Red corrugated iron wall with closed door and sign above in reversed capital letters reading ‘Hotel Woop Woop’. Two red printed colour swatches on right side. Page title at top: Hotel Woop Woop.

Scenic design for the Woop Woop Hotel, 2008. Drawn by Pip Runciman.

Scenic design for the Woop Woop Hotel, 2008. Drawn by Pip Runciman.

White page with image of set element and printed annotations. Blue wall with yellow fringed curtain in doorway and three white stylised animal heads with horns above. The wall is angled diagonally at top edge with sign in reversed capital letters reading ‘Broken Hill Pub’. On left in front of the wall is a male figure wearing cowboy style hat and outfit, holding a looped rope, with partially obscured red lettering behind. Four printed colour swatches on right side: two blue tones, a red and a yellow. Page title at top: BHP.

Scenic design for the Broken Hill Pub, 2008. Drawn by Pip Runciman.

Scenic design for the Broken Hill Pub, 2008. Drawn by Pip Runciman.

Priscilla on Tour

Rectangular shaped set model with black cardboard base, top and side panels. Within is a red surface representing the stage, on which a simplified white cardboard bus model is positioned to show side panel with vehicle front facing to left. Backdrop representing billowing curtain with horizontal rainbow-coloured sections is behind. Stage area framed at top and sides by black panel with red stripe.

Set model, Norwegian Cruise Lines, 2015. Made by Justin Nardella.

Set model, Norwegian Cruise Lines, 2015. Made by Justin Nardella.

After playing in Sydney, Melbourne and Auckland, Priscilla was set to open at London's Palace Theatre in 2009. While the previous venues had stages with a width of around 15 metres, in London the production had to be accommodated on a 10 metre wide stage. A smaller version of the bus was designed, reducing the back wheels to one each side rather than two.

Scale models were made of the revised bus – both a simple white card model and a fully finished version. This detailed model fits within a set model box which was donated to the Australian Performing Arts Collection by Garry McQuinn.

Square shaped set model with black cardboard base and side panels. Within is a red surface representing the stage and five steps at either side to a lower level. The stage opening is framed by gold-coloured panels at top and sides. Within the stage area are bright pink and orange layered panels at top and sides. On the stage is a silver-coloured bus model set at an angle with vehicle front towards right and side open to show colourful interior. Three cardboard cut-out figures are position in front of the bus.

Set model, Palace Theatre, London, 2009. Made by Robert Dein.

Set model, Palace Theatre, London, 2009. Made by Robert Dein.

Three quarter side view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, grey/green tyres and yellow headlights. The name Priscilla printed in black above windscreen.

Bus model, London, 2009. Made by Nicholas Dare.

Three quarter side view of silver-coloured model bus with open panel to interior. Inside features brightly coloured miniature furnishings including of a rounded edge bench, hills hoist clothesline, table and two chairs, leopard print covered driver’s seat and banana-shaped lounge, pink sheep and steering wheel. Three panels with an image of a sunset and palm tree hanging on long interior wall of bus. A sign above the windscreen reads ‘Priscilla’ in black lettering.

Bus model, London, 2009. Made by Robert Dein.

Three quarter side view of silver-coloured model bus with open panel to interior. Inside features brightly coloured miniature furnishings including of a rounded edge bench, hills hoist clothesline, table and two chairs, leopard print covered driver’s seat and banana-shaped lounge, pink sheep and steering wheel. Three panels with an image of a sunset and palm tree hanging on long interior wall of bus. A sign above the windscreen reads ‘Priscilla’ in black lettering. A large silver glittery high heel shoe sits on top of the roof of the bus.

Bus model, London, 2009. Made by Robert Dein.

Three quarter side view of 3D bus model made of white cardboard with black lines depicting bus details, pale green striped panelling, grey/green tyres and yellow headlights. The name Priscilla printed in black above windscreen.

Bus model, London, 2009. Made by Nicholas Dare.

Three quarter side view of silver-coloured model bus with open panel to interior. Inside features brightly coloured miniature furnishings including of a rounded edge bench, hills hoist clothesline, table and two chairs, leopard print covered driver’s seat and banana-shaped lounge, pink sheep and steering wheel. Three panels with an image of a sunset and palm tree hanging on long interior wall of bus. A sign above the windscreen reads ‘Priscilla’ in black lettering.

Bus model, London, 2009. Made by Robert Dein.

Three quarter side view of silver-coloured model bus with open panel to interior. Inside features brightly coloured miniature furnishings including of a rounded edge bench, hills hoist clothesline, table and two chairs, leopard print covered driver’s seat and banana-shaped lounge, pink sheep and steering wheel. Three panels with an image of a sunset and palm tree hanging on long interior wall of bus. A sign above the windscreen reads ‘Priscilla’ in black lettering. A large silver glittery high heel shoe sits on top of the roof of the bus.

Bus model, London, 2009. Made by Robert Dein.

A major change made from the London production onwards was the use of LED panels on the bus in place of individual light units. Requiring less power, this technology could not only change colour but also receive digital information.

Thomson saw this as an opportunity to create new effects on the bus through LED lights:

“So the bus in London was able to be 'painted' and you could actually see the brushstrokes happening. And also it could take on other personalities during the show... and that for me was the most exciting thing about the transformation in the bus.”

White page with printed design showing both sides, front, rear and top of bus with fine diagonal pink lines shading surfaces to indicate placement of LED panels. Printed annotations to right. Page labelled: LED Coverage.

Design for UK bus, LED coverage, 2008. Drawn by Nicholas Dare.

Design for UK bus, LED coverage, 2008. Drawn by Nicholas Dare.

Three performers on stage standing in dynamic poses. Each is wearing a large headdress, patterned leotard and long striped flared pants that connect to oversized platform shoes. Behind them is the side view of a bright pink illuminated bus, with other performers visible on stage and suspended above the bus.

David Harris (Mitzi), Tony Sheldon (Bernadette), Euan Doidge (Felicia) and company, Regent Theatre, Melbourne, 2018. Photograph by Sam Tabone Getty Images.

David Harris (Mitzi), Tony Sheldon (Bernadette), Euan Doidge (Felicia) and company, Regent Theatre, Melbourne, 2018. Photograph by Sam Tabone Getty Images.

Five performers on stage standing in dynamic poses. Each is wearing a large headdress, patterned leotard and long striped flared pants that connect to oversized platform shoes. Behind them is the side view of a bus illuminated in rainbow colours. Five performers visible on stage between the front performers and the bus, and three performers are standing on top of bus next to large silver glittery high heel shoe.

Will Swenson (Mitzi), Tony Sheldon (Bernadette), Nick Adams (Felicia) and company, Palace Theatre, New York, 2011. Photograph by Joan Marcus.

Will Swenson (Mitzi), Tony Sheldon (Bernadette), Nick Adams (Felicia) and company, Palace Theatre, New York, 2011. Photograph by Joan Marcus.

Touring Priscilla, Queen of the Desert beyond London and New York, required further adjustments. The bus was scaled to a size that would work for a wide variety of theatre stages and constructed in parts that could be easily assembled at each venue.

In 2015, Priscilla took to the seas in a version created for Norwegian Cruise Lines. This compact production used the large digital screen at the rear of the ship's theatre and Thomson again embraced a new approach.

He explains: "That's why we came up with the skeletal bus where you could see right through it. And then with Jamie Clennett, an animator from Melbourne, and my associate Justin Nardella we worked out the entire journey as the bus is going along... and it was actually fun doing that."

Three quarter view of set model box with side sections made of white cardboard and front panels of black cardboard. A white cardboard bus model is on a red central stage in front of a bright pink backdrop. The bus is positioned sideways with front facing left. A black panel is below the stage with white printing outlining seating. Four black panels on wooden rods hang from the upper side edges of the model behind the stage area.

Set model, Norwegian Cruise Lines, 2015. Made by Justin Nardella.

Set model, Norwegian Cruise Lines, 2015. Made by Justin Nardella.

The musical version of Priscilla, Queen of the Desert has dazzled and delighted audiences across the world. In each production the bus has been integral to the story and a highlight of the onstage spectacle. This important 'character' has been developed and adapted along the way, the result of a remarkable design journey.

Digital design image showing stage with black surround and red line bordering top and sides panels. A bus with open side panel is on the stage, facing to the right. The interior of bus is visible and includes blue and black spotted lining, three red and white lifebuoys hanging of the far wall, and colourful furniture. There is one figure seated at the steering wheel and two passengers – one standing and one seated. Behind the bus is a background of blue sky with white fluffy clouds. The background and bus are reflected on the stage surface. Text on the image reads: ‘Heading West’, ‘Hot’ and ‘14. Journey 1’.
Digital design image showing stage with black surround and red line bordering top and sides panels. A bus with open side panel is on the stage, facing to the right. The interior of bus is visible and includes blue and black spotted lining, three red and white lifebuoys hanging of the far wall, and colourful furniture. There is one figure seated at the steering wheel and two passengers – one standing and one seated. Behind the bus is a background of black silhouetted oil rigs against an orange sky. The background and bus are reflected on the stage surface. Text on the image reads: ‘Hotter’ and ‘16. Journey 1 Part 2’.
Digital design image showing stage with black surround and red line bordering top and sides panels. A bright pink bus is on the stage, facing to the left. Two figures are standing in front of the bus. Behind the bus is a background of yellow signs with blue illustrated warnings about deep shafts. The background and bus are reflected on the stage surface. Text on the image reads: ‘Coober Pedy’, ‘Baking’ and ‘30. Arrival at Coober Pedy’.

Scene renderings, Norwegian Cruise Lines, 2015. Created by Jamie Clennett.

Scene renderings, Norwegian Cruise Lines, 2015. Created by Jamie Clennett.

Group of performers on stage standing in dynamic positions, most wearing large headdresses, patterned leotard and long striped flared pants that connect to oversized platform shoes. Three performers wearing long dresses are suspended above the stage. Positioned at the rear of the stage is a bus illuminated with blue lights with large silver glittery high heel shoe on top. Behind the bus is a deep blue sky with silver light representing the moon. Red illuminated panels frame the stage at the side and top.

David Harris (Mitzi), Tony Sheldon (Bernadette), Euan Doidge (Felicia) and company, Regent Theatre, Melbourne, 2018. Photograph by Ben Symons.

David Harris (Mitzi), Tony Sheldon (Bernadette), Euan Doidge (Felicia) and company, Regent Theatre, Melbourne, 2018. Photograph by Ben Symons.

Theatre stage with angled bus illuminated with green light panels and set against dark background. Three female performers standing on top of bus wearing tall red wigs and long green costumes with high scalloped-edged collars. Two groups of performers either side of the stage, each holding a clear plastic umbrella and wearing a green costume with skirt representing a cupcake and hat with upright candle. Shafts of blue and green lighting extend from above the stage.

'Macarthur Park', The Divas and company, Palace Theatre, London, 2009. Photograph by Tristram Kenton.

'Macarthur Park', The Divas and company, Palace Theatre, London, 2009. Photograph by Tristram Kenton.

Group of performers on stage dancing, each with one leg extended to the left. In the front are three performers, two wearing shorts and shirts, the other wearing an orange skirt and jacket with leopard print shirt and headscarf. Eight performers in a row are behind, each wearing a pink headdress representing paint splashing out of tin, and pink costume with black fringing in the shape of a paintbrush. At the rear of the stage is a bus illuminated with bright pink light panels, with a large silver glittery high heel shoe on the top.

David Harris (Tick), Euan Doidge (Adam), Tony Sheldon (Bernadette) and company, Regent Theatre, Melbourne, 2018.

David Harris (Tick), Euan Doidge (Adam), Tony Sheldon (Bernadette) and company, Regent Theatre, Melbourne, 2018.

Three performers standing together in the centre of a stage. Two are wearing shorts and shirts, the other wearing an orange skirt and jacket with leopard print shirt and headscarf. The centre performer is holding a paintbrush and tin of paint, the outer two have their arms up and each hold a paintbrush. Behind are four performers each wearing a pink headdress representing paint splashing out of tin, and pink costume with black fringing in the shape of a paintbrush. At the rear of the stage is a bus illuminated with bright pink light panels, with a large silver glittery high heel shoe on the top.

Will Swenson (Tick), Nick Adams (Adam), Tony Sheldon (Bernadette) and company, Palace Theatre, New York, 2011. Photograph by Joan Marcus.

Will Swenson (Tick), Nick Adams (Adam), Tony Sheldon (Bernadette) and company, Palace Theatre, New York, 2011. Photograph by Joan Marcus.

Large-scale silver glittery high heel shoe set piece in front of a red background. A performer is seated on the shoe with legs crossed and one arm outstretched. They are wearing a silver body suit and wig. A length of blue fabric is extended from the back of the shoe and streaming upwards.

Oliver Thornton (Felicia), Palace Theatre, London, 2009.

Oliver Thornton (Felicia), Palace Theatre, London, 2009.

Theatre stage with bus against red background with yellow light above representing the moon. The bus is open at side to show interior filled with colourful furniture and decorations including fringed curtains printed with palm trees. Three performers are inside the bus in a group. The driver is seated at the right and wears an orange-coloured dress. A passenger in middle sits in slouched position with legs up and wears green jeans and singlet top. A passenger standing wears floral print shirt.

Oliver Thornton (Adam), Jason Donovan (Tick) and Tony Sheldon (Bernadette), Palace Theatre, London, 2009. Photograph by Tristram Kenton.

Oliver Thornton (Adam), Jason Donovan (Tick) and Tony Sheldon (Bernadette), Palace Theatre, London, 2009. Photograph by Tristram Kenton.

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Group of performers on stage standing in dynamic positions, most wearing large headdresses, patterned leotard and long striped flared pants that connect to oversized platform shoes. Three performers wearing long dresses are suspended above the stage. Positioned at the rear of the stage is a bus illuminated with blue lights with large silver glittery high heel shoe on top. Behind the bus is a deep blue sky with silver light representing the moon. Red illuminated panels frame the stage at the side and top.

David Harris (Mitzi), Tony Sheldon (Bernadette), Euan Doidge (Felicia) and company, Regent Theatre, Melbourne, 2018. Photograph by Ben Symons.

David Harris (Mitzi), Tony Sheldon (Bernadette), Euan Doidge (Felicia) and company, Regent Theatre, Melbourne, 2018. Photograph by Ben Symons.

Theatre stage with angled bus illuminated with green light panels and set against dark background. Three female performers standing on top of bus wearing tall red wigs and long green costumes with high scalloped-edged collars. Two groups of performers either side of the stage, each holding a clear plastic umbrella and wearing a green costume with skirt representing a cupcake and hat with upright candle. Shafts of blue and green lighting extend from above the stage.

'Macarthur Park', The Divas and company, Palace Theatre, London, 2009. Photograph by Tristram Kenton.

'Macarthur Park', The Divas and company, Palace Theatre, London, 2009. Photograph by Tristram Kenton.

Group of performers on stage dancing, each with one leg extended to the left. In the front are three performers, two wearing shorts and shirts, the other wearing an orange skirt and jacket with leopard print shirt and headscarf. Eight performers in a row are behind, each wearing a pink headdress representing paint splashing out of tin, and pink costume with black fringing in the shape of a paintbrush. At the rear of the stage is a bus illuminated with bright pink light panels, with a large silver glittery high heel shoe on the top.

David Harris (Tick), Euan Doidge (Adam), Tony Sheldon (Bernadette) and company, Regent Theatre, Melbourne, 2018.

David Harris (Tick), Euan Doidge (Adam), Tony Sheldon (Bernadette) and company, Regent Theatre, Melbourne, 2018.

Three performers standing together in the centre of a stage. Two are wearing shorts and shirts, the other wearing an orange skirt and jacket with leopard print shirt and headscarf. The centre performer is holding a paintbrush and tin of paint, the outer two have their arms up and each hold a paintbrush. Behind are four performers each wearing a pink headdress representing paint splashing out of tin, and pink costume with black fringing in the shape of a paintbrush. At the rear of the stage is a bus illuminated with bright pink light panels, with a large silver glittery high heel shoe on the top.

Will Swenson (Tick), Nick Adams (Adam), Tony Sheldon (Bernadette) and company, Palace Theatre, New York, 2011. Photograph by Joan Marcus.

Will Swenson (Tick), Nick Adams (Adam), Tony Sheldon (Bernadette) and company, Palace Theatre, New York, 2011. Photograph by Joan Marcus.

Large-scale silver glittery high heel shoe set piece in front of a red background. A performer is seated on the shoe with legs crossed and one arm outstretched. They are wearing a silver body suit and wig. A length of blue fabric is extended from the back of the shoe and streaming upwards.

Oliver Thornton (Felicia), Palace Theatre, London, 2009.

Oliver Thornton (Felicia), Palace Theatre, London, 2009.

Theatre stage with bus against red background with yellow light above representing the moon. The bus is open at side to show interior filled with colourful furniture and decorations including fringed curtains printed with palm trees. Three performers are inside the bus in a group. The driver is seated at the right and wears an orange-coloured dress. A passenger in middle sits in slouched position with legs up and wears green jeans and singlet top. A passenger standing wears floral print shirt.

Oliver Thornton (Adam), Jason Donovan (Tick) and Tony Sheldon (Bernadette), Palace Theatre, London, 2009. Photograph by Tristram Kenton.

Oliver Thornton (Adam), Jason Donovan (Tick) and Tony Sheldon (Bernadette), Palace Theatre, London, 2009. Photograph by Tristram Kenton.

Credits

Many thanks to Brian Thomson for his ongoing donations and for sharing insights on the design process for Priscilla, Queen of the Desert.

Thank you also to Garry McQuinn and Louise Chatterton at RGM Productions.

Production images reproduced courtesy of Nullarbor Productions, RGM Productions and Jeff Busby.

Object photography by Nick Umek.

Photograph of London set model by Mark Ashkanasy.

All bus models and design material donated through the Australian Government's Cultural Gifts Program by Brian Thomson, 2016. Australian Performing Arts Collection, Arts Centre Melbourne.

Set model for London production: Gift of Back Row Productions, 2009. Australian Performing Arts Collection, Arts Centre Melbourne.

Rear view of 3D silver-coloured bus model with vertical exhaust pipes and ladder extending from the roofline. The back window contains a coloured map of the world. Panel along lower edge with yellow and red diagonal stripes. A yellow number plate on grill reads: ‘Rear Entry on Request’.

Bus model, London, 2009. Made by Robert Dein.

Bus model, London, 2009. Made by Robert Dein.

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