Broadway tunes and drag queens take center stage in Connie and Carla, a fun gender-bender musical co-starring Nia Vardalos and Toni Collette in the title roles. After witnessing a mob hit in Chicago, the two friends take their singing act to West Hollywood where they hide out as gay men in order to perform in a drag queen cabaret show. They become quite successful, and why not? Both women can really belt out such old favorites as "Cabaret," "Oklahoma," "Mame," "Let Me Entertain You," and "Don't Cry for Me, Argentina."

Because I'm an avid fan of musicals, it's not surprising I wanted to sing along with Connie and Carla, just like so many of their adoring fans. What did surprise me was how well Vardalos performs in the musical numbers. I knew Collette (The Sixth Sense) could sing and dance because she won a Tony Award for The Wild Party, a 2002 Broadway musical, but my only knowledge of Vardalos came from her work in the smash comedy My Big Fat Greek Wedding(which, like Connie and Carla, she also wrote).

Yes, some parts of this movie do come across as too silly, especially the bickering and yelling between the co-stars as they drive across country a la Thelma & Louise. However,  those scenes are mere fillers between the film's enthusiastic musical routines. And, fortunately, I have a high silliness tolerance for any flick with David Duchovny (Return to Me). He's very moving here as a straight man trying to connect with his cross-dressing brother (Robert Spinella). Duchovny makes his character's confusion over his feelings for Connie (Vardalos), who has fallen in love with him, seem quite genuine. 

Other highlights of Connie and Carla include a wonderful cameo by Debbie Reynolds (Singin' in the Rain) and an absolutely fabulous supporting turn by Boris McGiver (Jesus' Son) in the role of Tibor, a mob henchman. Assigned to find the two women, Tibor must watch dinner theater productions in a host of cities. Gradually, he becomes more and more intrigued with musical comedy until finally, he can't resist joining the audience in a rousing chorus of "Mame." It's the funniest running gag I've seen since the misadventures of that acorn-hiding creature in Ice Age. And what can I say about the legendary Reynolds? Simply that she makes a welcome (but too brief) appearance as her charming spangle-clad self.

Kudos to director Michael Lembeck (The Santa Clause 2) for understanding how important timing and pacing are to a good comedy. Also, props to the make-up and costume people who made the drag queens look so outrageously glamorous. And, most of all, thanks to Vardalos for writing such a humanistic script. I'm adding Connie and Carla to my list of favorite gender-bender musicals -- it's right up there with Victor/Victoria and Priscilla, Queen of the Desert.

(Released by Universal Pictures and rated "PG-13" for thematic elements, sexual humor and drug references. Photo: 2004 Copyright Universal Pictures. All Rights Reserved.)