Priscilla Queen of the Desert follows three drag performers, Tick (also known as Mitzi), Bernadette, and Adam (also known as Felicia), as they travel across the Australian outback in a battered bus, Priscilla, to perform a show in Alice Springs. Along the way, the trio encounter hostility, acceptance, humour and moments of genuine emotional connection, as the journey becomes not just a physical one, but a deeply personal exploration of identity, friendship and self-acceptance. Packed with disco anthems and irreverent humour, the musical aims to balance camp spectacle with a more heartfelt core.
Based on the 1994 Oscar-winning film The Adventures of Priscilla, Queen of the Desert, the stage adaptation premiered in Sydney in 2006 before transferring to the West End and Broadway, where it became known for its extravagant design and jukebox score. This current UK tour, directed by Ian Talbot and featuring choreography by Matt Cole, arrives at Royal Concert Hall Nottingham with considerable pedigree and expectation. Costumes, designed by Vicky Gill, remain one of the production’s defining features, with over 100 outfits contributing to the show’s visual identity.
This touring production, however, proves to be something of a mixed bag. There is no denying the impact of the costuming. Gill’s designs are consistently extravagant and inventive, delivering the flamboyance that audiences expect. From towering headdresses to glittering bodysuits, the visual spectacle rarely falters, and the sheer volume of costume changes is impressive.
In the central roles, Kevin Clifton as Tick/Mitzi, Adèle Anderson as Bernadette, and Nick Hayes as Felicia/Adam all deliver secure performances. Vocally, they are more than capable, handling the well-known score with assurance. Dramatically, there is a steadiness to their work, though the production does not always allow for the depth of character development that might elevate the emotional stakes. Bernadette, in particular, feels like a role that could resonate more strongly with greater nuance, while Tick’s internal conflicts are not explored as fully as they could be.
The ensemble work tirelessly to bring Matt Cole’s choreography to life, and it is often here that the show finds its energy. Large-scale numbers are executed with commitment and precision, even if not all principal performers match that same level of physical confidence.
The set design, by contrast, is notably minimal. The central bus is functional and serves as a visual anchor, but its reliance on being pushed on and off stage by the cast occasionally breaks the illusion. Scene transitions are not always seamless, and there are moments where the mechanics of the staging become too visible. This contributes to a broader issue with the production’s sense of place and time, which can feel inconsistent. The vastness and specificity of the Australian outback are not always convincingly realised, leaving some scenes feeling curiously ungrounded.
There are also signs that the production has yet to reach the level of polish expected at this stage in a national tour. Minor mishaps, such as set pieces being knocked or transitions lacking fluidity, detract from the overall slickness. For a show that thrives on precision and spectacle, these inconsistencies are noticeable.
Musically, however, the show remains reliable. The band sounds excellent, and the parade of familiar disco hits lands as it always does. Songs such as ‘It’s Raining Men’ and ‘I Will Survive’ generate an immediate audience response, and these moments provide the production with much of its momentum.
Perhaps the most surprising element is that, for a show synonymous with boldness and camp excess, this iteration feels somewhat restrained. The humour is present, but it does not always reach the exuberant heights the material invites. There is a sense that the production never fully commits to its own outrageousness, resulting in a tone that feels flatter than expected.
That said, audiences who already love the film or the soundtrack will still find much to enjoy. The music, the costumes and the core message of acceptance remain intact. Yet, while this Priscilla Queen of the Desert delivers in parts, it stops short of the fully realised, high-energy spectacle it has the potential to be.
Priscilla Queen of the Desert plays at the Royal Concert Hall until Saturday 2nd May 2026 where it continues its UK tour.
Photography throughout from Johan Persson.
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