PRISCILLA: QUEEN OF THE DESERT – THE MUSICAL
★★★★
_REVIEW. it’s about _THEATRE. words _KYLE PEDLEY. at _BIRMINGHAM HIPPODROME. tickets _OFFICIAL SITE. booking until 28th MAR.
images © Johan Persson.
It’s been over thirty years since Stephan Elliot’s The Adventures of Priscilla, Queen of the Desert charted its outback road trip into cinematic history. Likewise, this year marks the 20th anniversary since its perhaps-inevitable stage musical adaptation (also co-helmed by Elliot) first debuted in Sydney.
And times, they be most certainly a-changing.
Bringing Priscilla the musical back to the stage in 2026 sees its central narrative – depicting a comedic cross-country journey for two drag queens and a trans woman – landing in a very different socio-political climate to even fairly recent productions of the same show. Mishandle its misrepresentation or fail to modernise some of its messaging and attitudes towards homophobia, trans awareness etc. and this is one particular show bus that could easily crash and burn.
Fortunately, whilst some of the axels and rivets do occasionally creak and groan under their age, for the most part director Ian Talbot steers the good ship (see: bus) Priscilla confidently with this energised, vibrant reimagined take that, for those keenly looking, does indeed do some deft and sensitive repurposing of its central character in particular.
“…director Ian Talbot steers the good ship Priscilla confidently with this energised, vibrant reimagined take…”
Nowhere is this more evident than in the casting of Adèle Anderson as Bernadette. Prior productions have seen cis male performers such as Richard Grieve and Simon Green take on the role made famous by Terrence Stamp in the OG film. And whilst Grieve and Green each gave perfectly enjoyable and characterful turns, it feels egregious to even consider anything other than a trans woman in the role now.
That isn’t to be reductive about Anderson (a highly experienced singer and stage performer herself) nor pigeonhole her; on the contrary, her sardonic, dry, slightly world-weary turn as Bernadette is the classy, dignified core around which all the glitter and camp can swirl. It’s perhaps little surprise that Anderson’s Bernadette feels more grounded and authentic than the broader strokes of past takes on the role.
That’s not to say this is in any way a subdued or pared back Priscilla, though. Andrew Exeter’s set and lighting, Talbot’s punchy direction and some really high-kicking and kinetic choreo from Olivier Award-winner Matt Cole make for a supremely vibrant, rhinestoned and eye-popping trip across the outback. Exter’s use of an almost War Horse-esque wraparound projection is particularly snazzy; accentuating many of the set pieces and big dance numbers with splashes of colourful, or helping create a sense of place for the quieter character beats.
The only (slightly surprising) misfire here are with some of Vicky Gill’s costumes. When sticking closer to the wheelhouse of Tim Chappel’s original, iconic, Oscar-winning creations, Gill does a great job, but some of the more minimalist frocks the three leads get decked in occasionally come across as drab, boxy or uninspiring compared to their more show-stopping pink paint, polka-dot or pluming peers. Thankfully, most of the looks also have Craig Forrest-Thomas’ fantastic wigs and inventive make-up applications to help further elevate the spectacle.
“…Leah Vassell, Bernadette Bangura and Jessie May sass, strut and sing up an absolute storm throughout as the three ‘divas’.”
Credit also have to go to the impressive cast and company who infuse the production with so much of its charisma, uniqueness… well, you know the rest. Peter Duncan, Isabella Glanznig Santos and Billie Hardy all offer up great supporting turns, and Leah Vassell, Bernadette Bangura and Jessie May sass, strut and sing up an absolute storm throughout as the three ‘divas’. Gone are the days of the red-headed songstresses flying about above stage; here, they stomp and shimmy their way upstage from the off, looking like gloriously realised incarnations of Jennifer Saunders’ similarly disco-belting fairy godmother from Shrek 2. It’s a choice that absolutely works – not only do they go to town vocally with a whole host of disco classics from Donna Summer, The Weather Girls to Cyndi Lauper, here they are shaking their groove thing on down to Cole’s spunky choreography with gusto, too.
Adèle Anderson, as mentioned, proves a great choice for Bernadette, and is handsomely met by Strictly favourite Kevin Clifton as Tick/‘Mitzi’ and musical theatre pro Nick Hayes returning to the role of Adam/‘Felicia’. Clifton is in great voice and proves an earnest, likeable Tick, and of course he’s delivered some fun chances to show off his fancy footwork – not least of all in a bonkers, giddily fun take on ‘MacArthur Park’.
“Clifton is in great voice and proves an earnest, likeable Tick, and of course he’s delivered some fun chances to show off his fancy footwork…”
But it’s perhaps Hayes, as the feisty, seemingly fearless Felicia who routinely threatens to steal the whole show. Hayes’ commanding physicality, vocals and muscularity serve up a real tour-de-force Adam/Felicia, but he’s equally affecting when the bravura and barriers break down, too. It’s a terrific performance that only solidifies this as one of the strongest central line-ups brand Priscilla has had to date.
Decadent, dazzling and still fizzing with the heart and humour of Elliot’s original outing, Priscilla the Queen of the Desert the Musical returns for 2026 in glitzy, larger-than-life style. Sure, some of its sartorial choices are, well, choices, and there are occasional moments where the storytelling gives flashes of its age (do we really need to be having conversations about ‘toning it down’ in 2026?), but in other places Talbot and co have clearly, sensitively given her a bit of work. One big laugh from previous productions, for instance, where a character gives another the middle finger after comments about how well they pass as their gender, has been shrewdly excised altogether.
In all, with a bursting jukebox of disco classics and some truly show-stopping staging, choreography and performances, this latest journey with Priscilla is a joyful, rhinestoned, feathered, funny and utterly fabulous road trip well worth taking all over again.
Next stop – Ayers Rock.
Don’t forget the Kylie.
A rhinestoned, bedazzled treat of a revisit. Hayes, Anderson and Clifton, backed up by a fierce, high-kicking and utterly fabulous company, chart a glitter-soaked course for drag delights and disco dreams. Well worth the road trip.
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It’s 5 (6, 7, 8…) stars ⭐️⭐️⭐️⭐️⭐️ from @kylebpedley for @thestepsmusical!
Head on over to the TWE site (link in bio) to read Kyle’s full review of this ‘relentlessly entertaining slice of new jukebox fabulousness’, which runs at @thealexbham until 30th November, ahead of its recently-announced UK tour which commences September 2025! 💓🤠✨🛒🎭
#hereandnow #hereandnowtour #musical #steps #stepsmusical #review #thestepsmusical #birmingham #thealexandra #thealex #midlands #whatson #twe #thingsweenjoy
Nov 20
TAKE FIVE (…six, seven, eight) with @thestepsmusical! 🪩🛒🕺🏽💓
‘Here & Now’ is officially OPEN at @thealexbham, and in the run-up to this STOMPing World Premiere, we bootscoot’d down to the rehearsal room, where @kylebpedley got to ‘take five’ with the show’s fabulous leading ladies, @beingbeckylock & @supashar.
Watch now as the trio chat all things musical theatre, things we’ve enjoyed, the bostin’ City of Birmingham and, of course, STEPS themselves! ✨
‘Here & Now’ runs at the Alexandra Theatre, Birmingham until Saturday 30th November - get your tickets now! 🎭🎟️
And keep an eye out for our full, official review of the show after its glittering gala opening night next week! 🤩
#steps #stepsmusical #thestepsmusical #hereandnow #theatre #musical #musicaltheatre #rebeccalock #sharlenehector #birmingham #whatson #thealexandra #alexandratheatre #sayyoullbemine #twe #thingsweenjoy
Nov 11
“Delightful, unapologetic cabaret goodness with an extra sheen of malevolence” - we had a wicked-ly good time catching the @oldjointstock theatre’s ’I Screamed A Scream’ this week! 😈🎃
Head on over to the TWE site (link in bio) for the full review of this ‘deliciously entertaining’ celebration of the best villains, rogues and rascals of stage and screen.
It truly does feel so good to be bad! 😈
#IScreamedAScream #Cabaret #Villains #Halloween #Disney #OldJointStock #Theatre #Review #TWE #ThingsWeEnjoy
Nov 3
“A moving, pensive story and beautifully crafted production both…” featuring “what should be a star-making central turn” from Ryan Kopel - it’s a glowing five stars ⭐️⭐️⭐️⭐️⭐️ for the ‘beautiful melancholy’ of @DEHWestEnd at @thealexbham from @KyleBPedley! 💙
Head on over to the TWE site (link in bio) to read Kyle’s full review of the show; which runs at the Alex until Sat 26th October, before continuing its UK Tour.
#DEHWestEnd #DearEvanHansen #UKTour #EvanHansenTour #Review #Birmingham #TheAlexandra #Theatre #Musical #TWE #ThingsWeEnjoy #Review #RyanKopel #WavingThroughAWindow
Oct 23
Mangetout, mangetout! It’s a lovely jubbly four stars ⭐️⭐️⭐️⭐️ for @ofahmusical at @wolvesgrand!
Head on over to the TWE site to read @kylebpedley’s full review of what he calls a ‘legitimately funny recapture of a classic’.
‘Only Fools and Horses the Musical’ runs at the Grand until Sat 26th October 2024, before continuing its UK Tour.
#onlyfoolsandhorses #musical #wolverhampton #review #ofah #ofahmusical #uktour #comedy #funny #whatson #twe #thingsweenjoy
Oct 22
It’s 4 ⭐️⭐️⭐️⭐️ stars from @kylebpedley for ‘Becoming Nancy’ at @therepbirmingham!
Head on over to the TWE site (link in bio) to read Kyle’s full review of this ‘fun, feel-good musical’ which boasts ‘a winning cast’ and a soundtrack ‘positively stuffed with catchy, jaunty earworms’.
‘Becoming Nancy’ runs at the Birmingham Rep until Sat 2nd Nov 2024.
#BecomingNancy #JerryMitchell #TerryRonald #Birmingham #BirminghamRep #New #Musical #MusicalTheatre #Review #TWE #ThingsWeEnjoy #October #LGBT #LGBTQ #Pride #FullOut
Oct 20

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