CASSIDY CONNORS

is currently appearing in ‘Priscilla Queen of the Desert’ at the Palace Theatre in London's West End.

However, Cassidy does have some availability but it is very limited, but please contact us if you would like to book her.

call 01273 325888 or email artists@refire.co.uk

Below are just some of the Cabaret Shows Cassidy Connors has been involved in, but you are surely aware of the sensational double act Trashville Tennessee that Cassidy stared in with her good friend Dolly Partem for the past 5 years across the UK and overseas.

Cabaret:

Petite Burlesque

Burlesque World

Trashville Tennessee

The Cassidy Connors Show

NightClub P.A's

Gorgeous, Portsmouth - Sonia / Stonebridge / Gina G / Shapeshifters / Special D

Curiosity, Brighton - Baby D / Charlene

Opera House, Bournemouth - Martha Walsh (Weather girls) / Cheeky Girls / Lisa Scott lee / Angie Brown

The Scala, Kings Cross / Jimmy Sommerville / Tina C

Cardiff Pride, Main stage - The Saturdays / Atomic Kitten

PRISCILLA REVIEWS

Miss Understanding played brilliantly by Wesley Sebastian lends a similar energy to the original Trevor Ashley version of the character but has a bit of London about him which like many parts of the show really sets this show apart from the other carbon copy musicals currently playing around the world. There is a definite sense of character ownership with Priscilla London which is wonderful to see.  Community.livejournal.com

Honourable mentions must go to Wezley Sebastian who was fantastic as Miss Understanding and his Tina Turner is almost worth the price of the ticket on it’s own. Deadheaduk

The show is being marketed as a starring vehicle for Jason Donovan as the father-in-drag, but he turns out to be bland to the point of near-invisibility, consistently out-acted, out-sung, out-danced and out-camped by his costars Oliver Thornton and particularly Tony Sheldon as the motherly trannie. Clive Carter as a friendly mechanic and Wezley Sebastian as a drag show compere also score. Gerald Berkowitz Theatreguidelondon

I wanna do a shout-out to Wezley Sebastian (Miss Understanding) and the other tall drag-queen looking person who were in so many of the ensemble scenes, because even at the very end these workhorses were performing every scene like they were the stars and they expected people to be watching them. It was really quite impressive! Wordpress.com

Charles Spencer in the Daily Telegraph (four stars) - "Those who like their musicals tasteful, subtle, and preferably written by Stephen Sondheim and directed by Trevor Nunn should give this wildly entertaining new import from Australia a wide berth. It makes Mamma Mia! seem like something by Chekhov ... At the Palace Theatre, I’m delighted to report, an insanely euphoric and wildly contagious vulgarity prevails. It’s ten times more enjoyable than the screen version ... Simon Phillips’ production has a driving energy and a palpable mission to delight; the costumes and wigs are almost insanely over the top and feature so many feathers one begins to fear for the survival of the ostrich as a species; even the bus Priscilla is an ingeniously mechanised and cunningly designed delight."

Simon Edge in the Daily Express (five stars) - “Some of the jokes are as corny as Fray Bentos beef and, this being Australian humour, nobody gives a XXXX about polite language. Kanako Nakano’s show-stopping turn as a Thai bride doing unspeakable things with ping-pong balls is a benchmark for the level of humour: it really isn’t Oscar Wilde. But all wrapped up as a shiny, pink-bowed package, this sumptuously dressed show works gloriously, with its wigtastic parade of ever more jaw-dropping costumes an utter feast for the eye. Loud, lewd and lavish, it’s about as subtle as a smack in the teeth with a didgeridoo, but who cares when it’s this much fun?”

- by Theo Bosanquet

Nicholas de Jongh in the Evening Standard (four stars) - “At a time when escapist musicals are all the rage, here’s a rare one that takes you happily out of yourself and into daring places your wildest fantasies might never have dreamed of visiting. Priscilla Queen of the Desert the Musical should, therefore, do an absolutely roaring trade, and not just among the young and gay-friendly … From the first moments when three divas hang suspended high above a silver-spangled bridge and belt out 'Downtown', the show never loses its spectacular, helter-skelter momentum of songs to which the drag queens lip-sync. They all dance to Ross Coleman’s pugnacious choreography in an ever wilder outrage of costumes, right down to ridiculous belle époque corseted dresses and hats variously piled heavy with fruit, flowers and feathers: Simon Phillips’ production artfully exploits the fact that drag queenery relies on excess and exaggeration.”