The 2026 UK tour of Priscilla Queen of the Desert arrives at a fascinating cultural crossroads. Thirty years after the original film’s release and over fifteen years since its West End debut, this new production, directed by Ian Talbot, attempts to balance the ‘high-camp’ spectacle audiences crave with the sensitivity required in a modern socio-political landscape. This reimagined journey through the Australian Outback remains a glittering, poignant celebration of queer resilience.
Based on the movie, we follow three drag-queens on a road trip. Tick, on the verge of a break-down and needing a change, convinces Bernadette, an aging queen who’s just buried her husband and doesn’t know what to do next, and Adam, the more emotional, yet theatrical one, to drive across Australia to perform a number of shows at a casino in Alice Springs. Although this is a cover as Tick had been previously married and has a son he’s never met, unbeknown to the others. You know the story…
At the heart of this production is a trio that not only anchors the show’s emotional stakes, but delights the audience. Kevin Clifton (known primarily for Strictly Come Dancing) delivers a surprisingly grounded performance as Tick (Mitzi). Clifton avoids the trap of playing Tick as a caricature; instead, he emphasises the character’s quiet apprehension regarding fatherhood. We know his dancing is spot on, however, his singing was brilliant.
However, the production’s greatest asset is Adèle Anderson as Bernadette. In a vital move toward authentic representation, the casting of a trans woman in this iconic role pays dividends. Anderson, a veteran of Fascinating Aïda, brings a ‘world-weary elegance’ to the part. Her Bernadette is the production’s dignified core, funny and sharp-tongued, yet deeply vulnerable. She was truly remarkable.
Beside her, Nick Hayes returns to the role of Felicia (Adam) with an explosive, muscular energy that threatens to steal every scene. The chemistry between the three is palpable, shifting seamlessly from vicious drag-queen repartee to genuine, found-family tenderness. Nick’s performance was spectacular.
Visually, the production is a feast, it had an element of simplicity with the props, however this was essential as space was required for the dancing and the big cast. The bus was cool and was physically pushed about the stage for internal/external scenes and I feel it worked well.
The costumes, designed by Strictly’s Vicky Gill, are predictably spectacular. With many costume changes, the show maintains its reputation for excess. From the iconic cupcake dresses to the paintbrush ensembles, Gill’s work elevates the production from a standard jukebox musical to a high-fashion fever dream.
Beneath the sequins and disco anthems like ‘I Will Survive’ and ‘It’s Raining Men,’ this production doesn’t shy away from the darker realities of the journey: the homophobic vandalism and the ‘broken-down’ nature of the trio’s bus serve as metaphors for the external and internal barriers they face.
Plus we had Peter Duncan play Bob – what a fabulous addition!
The inclusion of the Three Divas (Leah Vassell, Bernadette Bangura, and Jessie May) functions as a soulful Greek chorus, providing the powerhouse vocals that the queens lip-sync to. This stylistic choice pays homage to the traditional art of drag while ensuring the musical integrity of the disco score.
This is a full on high quality production ticking all the boxes and more, it brought so much joy to the audience and each cast member were utterly incredible (and fit as…).
Loved it. Loved it. Loved it.
Priscilla, Queen of the Desert – The Musical is playing at Norwich Theatre Royal until 4th April – for more information go here.
Photos: Pamela Raith Photography & Johan Persson