When Stephan Elliott’s film Priscilla, Queen of the Desert hit cinema screens in 1994 it received a variety of responses and appealed to different demographics in different parts of the world. By 2006, when Elliott adapted the film for the stage with Allan Scott, the film had achieved cult status and the show garnered a similarly broad audience base.
Now enjoying a fourth UK tour, Priscilla has cemented itself as huge crowd-pleaser, and one in which the audience is, unusually, actively encouraged in singing along to many of the disco hits that its score is bursting at the seams with.
The show, even more than its big-screen counterpart, unashamedly runs with the jukebox format, keeping its plotline simple and uncluttered, and very much a framework on which to hang the almost non-stop parade of music. A transgender woman, Bernadette accompanies two drag queens, Tick/Mitzi and Adam/Felicia, on a road trip from Sydney to Alice Springs, where Tick has arranged for them to perform in his estranged wife Marion’s nightspot. This is in some way a pretext on which to get Tick to meet his young son Benji for the first time. Along the way they encounter a mixed response from the locals and make some unexpected friends.
The production, with set and lighting designs by Andrew Exeter, plays out against a surprisingly sparse, even bland stage setup, on which all the colour comes from Leo Flint’s video projections and Vicky Gill’s dazzling array of costumes. While at first the sea of beige might feel disappointing, over time it reveals itself as the canvas on which our intrepid band of travellers bring colour and life into every dull spot they arrive in on their journey. The simplicity of the staging (achieved with a small number of mobile scenic elements) mirrors the homespun nature of the razzamatazz that they bring with them.
Gill’s costumes, along with wigs, hair and makeup by Craig Forrest Thomas, could almost become the outright stars of the show were it not for a cleverly assembled cast. Kevin Clifton provides audience pulling power on the marquee in the role of Tick/Mitzi, as well as having great stage presence and a voice with ample character to belt out the big numbers – something he demonstrates with great aplomb in the showstopping ‘Macarthur Park’. Nick Hayes has drive, energy and power dance moves as Adam/Felicia, and the undisputed class act of the trio is the inimitable Adele Anderson. Hats off to the producers for casting a trans woman in this role, a move that pays dividends not only in authenticity, but with a glorious, stately performance that brings real glamour to the evening.
Bob, the mechanic who saves the day when the bus breaks down and goes on to become part of the show’s emotional heart, is played warmly by Peter Duncan. Meanwhile there are strong performances in smaller roles for Garry Lee as Miss Understanding (who delivers a fine early solo in ‘What’s Love Got to Do With It’) Billie Hardy as Marion, and Isabella Glanznig Sandos as the shrill-voiced, ping-pong-popping Cynthia. Five young actors share the role of Benji, with Harper Etienne taking the stage on this Monday night.
One big win for the structure of the show is in the standoff between two generations of drag artists, who fiercely contest the relative merits of lip-syncing and live singing. In some of the big numbers in which the drag performer lip-syncs a song, the vocals are provided by separate singers performing the backing track elsewhere on the stage. This not only adds additional life to the setting, but also contributes to the musical integrity of the show as a whole. This is therefore a good point to credit the fine pit band led by Richard Atkinson, and the well balanced sound design from Ben Harrison.
Ian Talbot’s direction is a little lacking in energy, especially in the early stages of the show, but this is more than made up for by Matt Cole’s choreography, which makes the most of a strong ensemble. The evening seems to really step up by the time we reach ‘Colour My World’ as we near the end of Act I, and ‘I will Survive’ closes the first half with a drive that is mostly maintained throughout Act II.
There’s a real sense, in its curious mix of glamour and pared back set design, in which this Priscilla blends the open spaces of Australia with the feel of an old-school drag cabaret bar, and this is reflected in the very mixed audience, all of whom are having an absolute glitter-ball
Priscilla is at the Empire Theatre Liverpool to 14th March and continues touring through to July 2026.
Star Rating: Four stars
Adele Anderson, Kevin Clifton and Nick Hayes in Priscilla - Photo by Johan Persson 
The cast of Priscilla - Photo by Johan Persson
This review was originally written for and
published by Musical Theatre Review
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