Based on the beloved 1994 film, Priscilla Queen of the Desert arrives at Leicester’s Curve Theatre in a riot of sequins, feathers and disco anthems. With a book by Stephen Elliott and Allan Scott, this pioneering LGBTQ+ comedy follows two drag queens and a transgender woman as they travel across the Australian outback aboard a battered campervan, bound for a performance in Alice Springs.
The story centres on Tick (Kevin Clifton), performing under the drag persona Mitzi, who embarks on the trip in the hope of reconnecting with his young son. Alongside him are the flamboyant and endlessly confident Felicia (Nick Hayes) and the elegant Bernadette (Adele Anderson), whose friendship, clashes and shared experiences provide the emotional heart of the show.
From the opening moments at Sydney’s Cockatoo nightclub, the production establishes an infectious sense of audience participation. There are plenty of opportunities to clap, sing along and become part of the atmosphere.
Nick Hayes’ opening performance of “Venus” is a showstopper, combining powerful vocals, impressive dance skills and a swaggering confidence that perfectly captures Felicia’s larger-than-life personality. Hayes commands the stage whenever he appears, bringing both humour and vulnerability to a character who could easily become little more than a caricature.
Adele Anderson’s Bernadette provides a welcome contrast. Dressed in elegant chiffon shirts and signature neck scarves, she carries herself with understated sophistication, and is well-equipped with witty putdowns. Kevin Clifton brings warmth to Tick’s journey as an absent father attempting to bridge the gap between his drag persona and his responsibilities beyond the stage. His rendition of “I Say a Little Prayer” is unexpectedly haunting, offering one of the evening’s most memorable musical highlights.
Adding another layer to the production are the three Divas – Leah Vassell, Bernadette Bangura and Jessie May – who function as a glamorous Greek chorus. Decked out in sequined gowns and matching lilac bouffants, they provide powerhouse vocals throughout the evening, supporting the show’s many lip-synced moments and elevating several musical numbers.
Musically, the production is set up for success. Drawing heavily from some of the biggest hits of the 80s, the soundtrack ensures a steady stream of audience recognition and enthusiasm. Admittedly, as the evening progresses, the show begins to drag slightly, with certain numbers feeling included more for the sake of another hit than because they advance the narrative. The “MacArthur Park” sequence (“someone left the cake out in the rain”) is particularly guilty of overstaying its welcome.
Visually, the production is a feast. New outfits appear with astonishing frequency, each number seemingly accompanied by another extravagant costume change. The set design comprises a curved screen running above the stage with sweeping images of the Australian landscape, creating a sense of scale without overwhelming the action below, which is filled by the ensemble and an abundance of props. The production revels in lip-sync culture rather than attempting to disguise it, embracing the form as an art in itself.
The script remains packed with catty, quick-witted exchanges and unapologetically crude Australian humour. While much of the comedy still lands effectively, some aspects of the material may feel jarring to contemporary audiences. The production’s central themes remain surprisingly relevant. It illustrates that growth, understanding and acceptance are ongoing processes, even within communities that might appear united on the surface. However, the show’s message of self-acceptance never feels fully resolved. By the final curtain, Tick still appears just as concerned about what his son thinks of him as he was at the beginning, leaving his emotional journey feeling somewhat incomplete.
That said, any narrative shortcomings are largely overcome by the sheer energy of the performance. The cast attack every number with vigour, commitment and considerable oomph, ensuring the audience remains entertained throughout. The combination of iconic songs, dazzling costumes, strong performances and a celebratory atmosphere makes Priscilla Queen of the Desert an undeniably enjoyable night at the theatre.
Priscilla Queen of the Desert may occasionally sacrifice storytelling for spectacle, but when the spectacle is this colourful, energetic and joyously excessive, it’s easy to forgive.
Catch it at The Curve until 27 June 2026. https://www.curveonline.co.uk/whats-on/shows/priscilla-queen-of-the-desert/
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Katie Reviews 