Priscilla Queen of the Desert arrives in Nottingham tonight, and my goodness me does she bring a formidable reputation with her! Based on the Oscar-winning 1994 film, the musical follows three drag performers – Tick, Bernadette and Adam – who travel across the Australian Outback in a battered old tour bus held together by hope and hairspray alone – the eponymous ‘Priscilla’. We join them as they embark upon their reunion tour to Alice Springs. What begins as a chaotic road trip unfolds into something far richer: a story of identity, resilience and acceptance. Along the way, the trio confront prejudice, loss, and their own vulnerabilities, all while joyfully lip-syncing to a relentless soundtrack of camp disco anthems. What’s not to love?!
Kevin Clifton’s Tick/Mitzi provides the emotional spine of the narrative. Clifton, as well as being an incredible dancer, is a consummate actor and clearly understands the character’s internal conflict – he expertly portrays a man torn between responsibility, identity and fatherhood. He brings warmth and sincerity, giving the show a surprising tenderness. He also has a fabulous singing voice. A triple threat indeed.
In an inspired piece of casting, Adèle Anderson is Bernadette. Anderson gives a performance that is quietly commanding and magnificently bold all in one – a gloriously arch portrayal which nevertheless resists caricature and offers a grounded, dignified characterisation that anchors the show. Bernadette’s hard-earned wisdom and fragility shine through. She’s elegant, she’s sharp, and she absolutely knows she’s the grown‑up in the room.
In contrast, Nick Hayes’ Adam/Felicia injects electric energy into every scene. His performance is gloriously irreverent, bursting with attitude and comic timing, yet he also allows flashes of vulnerability to emerge, especially when the character faces hostility on the journey. Hayes delivers waspish asides to perfection, and absolutely loves camping it up for the crowd. The chemistry between the three leads feels authentic and lived-in, which makes their evolving bond genuinely affecting.
Peter Duncan’s Bob offers a gentle counterpoint to the chaos, his understated presence an essential ingredient of the show’s success. Harper Etienne plays Tick’s son Benji with sweetness and enthusiasm. I love his tender duet with Clifton to Elvis’ ‘You Are Always On My Mind.’ Special mention tonight to Sario Solomon, understudying as Miss Understanding and coping particularly brilliantly with a faulty microphone in the very beginning of Act One. What a pro!
Around the central characters, a vibrant supporting company – including the omnipresent Divas (Leah Vassell, Bernadette Bangura and Jessie May) – ensures the stage is never short of vocal power or vibrant flair.
Visually, the production is a formidable feast for the eyes! The costume design by Vicky Gill (of Strictly fame) is nothing short of extraordinary: over-the-top, dazzling and endlessly inventive. Feathers, sequins and sparkles dominate, yet each look feels purposeful, reflecting character and narrative as much as spectacle. The outfits are outrageous, witty, and occasionally so bizarre I wonder whether I’ve hallucinated them.
Andrew Exeter’s set and lighting design work in tandem to evoke both the vastness of the outback and the intimacy of the characters’ journey, with the iconic bus “Priscilla” becoming, as you might hope, a central visual motif as well as a very versatile piece of stage furniture.
Musically, the show is a non-stop celebration. From “It’s Raining Men” to “I Will Survive,” the score is 100% iconic and I find myself swept along by its infectious energy. The band under the musical direction of Richard Atkinson are perfect. The choreography (Matt Cole) is sharp and dynamic, leaning fully into the camp exuberance while maintaining precision.
What surprises me most is how moving it all becomes. Beneath the glitter and humour lies a sincere exploration of acceptance and self-worth. By the time the final number arrives, I feel I’ve been part of something both joyous and profound.
This Priscilla doesn’t just entertain – it steadfastly affirms. The insistence is on empathy, identity, and the courage to be unapologetically visible. Its message, like its music, lingers long after the curtain falls.
Photo credit: Johan Perrson
