The Helium Queens: A Space Opera @ The Kessler
Photo Credit: Justin Locklear
—Jill Sweeney
This was not the show I thought I’d be reviewing. Or perhaps it was very, very much the show I thought I’d be reviewing, but vibrating at a totally different frequency.
I thought I’d be reviewing a piece of high camp—shades of Flash Gordon, The Fifth Element, with a musical, feminist twist. I mean, the show’s called The Helium Queens: A Space Opera. There’s a giant neon space hookah onstage that blows bubbles. The main characters are multi-dimensional neon space prophetesses from the moon. The show’s description includes lines like the following: “Piscea Xandaria, looking toward a fully illuminated Zanu Vul, calls out to Atla Akiliana who was left behind in another dimension after sacrificing her place in the timeline for The Joule.” As the minutes passed, my notes devolved from full sentences into short, puzzled interrogatives— “The Star Child’s eyes?” “Purple space go-go fairy?” “Disco hat bowl crown?”—until I abandoned them altogether.
This show is truth in advertising: it is an opera, with all that implies. There are gorgeous costumes on display, along with talented, classically-trained singers, a nigh impenetrable plotline, and the kicker—it’s played entirely straight, no irony or winking at the audience. Director Danielle Georgiou, in collaboration with space pop trio The Helium Queens (DFW-based musicians Poppy Xander, Chelsey Danielle, and Sharla Franklin), has brought to life a fascinating fusion of song, dance, and visual art, with all the signifiers of camp but none of the archness. It’s a tragedy, as all the greatest operas are, but it’s also pleasantly overwhelming, a visual and aural riot brought to life by some of the best and brightest on the local scene.
The concept behind the show—a moon-based matriarchy in danger of total annihilation— was conceived by Xander, Danielle, and Franklin in 2017 on their way home from a music festival. They started off with some live shows in character as the Queens, then followed up with music videos and the release of a full album. But the ever-expanding YOUniverse (as they term the evolving world of the Helium Queens) seemed to demand a full-length production, and so the Queens tapped local director and choreographer Danielle Georgiou to create an immersive three-act production, first staged in August 2021 at Dallas’ Artstillery.
The shortest plot summary I can muster: The Helium Queens, who exist out of time and can therefore see the future, are working to prevent the destruction of Lanu (the moon) and Zanu Vul (Earth). Both worlds are ruled by a matriarchal society, formed after the violent overthrow of the patriarchy, and led by She the King (Sarah Ruth Alexander). She the King has squandered both worlds’ helium resources, leading to their imminent destruction. Additionally, Helium Queen Piscea Xandaria (Xander) has lost both her lover Akiliana (Adrian Lea Valhalla) and their forbidden child The Joule (Nicole Marxen). Can Lanu and Zanu Vul be saved, or must the Queens abandon the timeline and begin their search for a way to save both worlds anew?
The show manages three acts and an epilogue in 75 minutes, an impressive feat. And despite a few technical mishaps, and a few lagging transitions between acts, the cast, helmed by the Helium Queens, put on an impressive display. The Queens themselves are a compelling presence and did a nice job of creating a linked body language between the three entities. Nicole Marxen (The Joule) has a stunning voice, with vibrato for days, and a hugely impressive range, most notably in her confrontation with Alexander’s She the King, whose performance was perhaps the most nuanced of the cast. Xander’s Piscea Xandaria had the most emotionally compelling narrative thread and was lovely in the plaintive number mourning her lost lover and child. Reivan Alexandria’s Spirit of Ingenii was an unsettling presence, owing both to her strong physical performance and designer Coco Niji’s slightly ghoulish neon makeup.
Georgiou’s choreography added an ecstatic, ritualistic element at times, particularly the beautiful piece opening the second act, and kudos to the show’s four dancers (William Acker, Rai Barnard, Alondra Puentes, and Sarah Mendez) for pulling off not only the technical work, but also performing in physically and visually challenging costumes. The score, a pre-recorded mix that runs the gamut of classical, electronica, and some truly vintage 80s synth, was mixed with some live music performed by band Quantina; I particularly enjoyed their cello and violin elements.
I must give special mention to the show’s costume designer, Teddy Georgia Waggy. With what one imagines are scant resources, the costumes were mind-blowingly inventive. Of particular note were the Helium Queens’ neon dresses, each distinct in design but subtly unified, and Alexander’s raggletag deconstructed Indian garb. But my absolute favorite was She the King’s stunning purple ensemble, wafting sequins and hints of David Bowie across the stage, topped with a truly showstopping crown.
An unmistakably unique blend of sci-fi schlockiness and tragic grandeur—who knows what the Helium Queens will do next?
WHEN: Closed February 25
WHERE: 1230 W Davis St, Dallas, TX 75208
