Review: Priscilla Queen of the Desert (Woking Theatre / UK & Ireland Tour)

Review by Ruth Sealey

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Thirty years after its first performance as a stage musical in Sydney, Priscilla Queen of the Desert still feels remarkably bold in its celebration of drag culture and the transgender community. Ahead of its time when it first premiered, and arriving in Woking in a whirlwind of sequins, sparkle and disco anthems, could Priscilla Queen of the Desert still strike the same chord with a modern audience?

The story follows drag performers Mitzi and Felicia, alongside transgender woman Bernadette, as they travel across the Australian outback in a battered bus named Priscilla in order to reunite Mitzi with their family. The story first appeared on screen in 1994, written and directed by Stephan Elliott, and became an unexpected success thanks to its humour, heart and celebration of individuality. Inspired by real-life drag performers, it was later adapted into a stage musical, premiering in Sydney in 2006 before transferring to London’s West End and Broadway. Now, Priscilla Queen of the Desert returns with its 30th anniversary UK and Ireland tour.

The book of the musical, by Stephan Elliott and Allan Scott, is a celebration of difference, belonging, and the freedom to be unapologetically yourself. That these themes remain so resonant today speaks to writing that has successfully transcended three decades of performance history while still feeling relevant. There is also sharp comedy woven throughout the script, which shines a light on underrepresented communities without losing its emotional core. The impact of the production lies in the way it shifts between exuberant spectacle: a whirlwind of laughter, sequins and music, and moments of real emotional weight, capturing both joy and the gut-punch of prejudice and misunderstanding faced by the characters.

That said, there are moments where the production shows its age. Certain elements, particularly the storyline involving Bob’s ‘Thai bride’, feel dated and arguably in need of reconsideration as they play to stereotypes, rather than challenging them. At times, the show also seems uncertain about how comfortably its comedy sits alongside its more serious themes, especially given the growing visibility and sensitivity around transgender issues in the UK. This creates a slight tension between humour and message, with the balance not always feeling fully resolved.

Director Ian Talbot has created a production that bursts with energy and colour. At times, the pace feels relentless, but moments of contrast allow the characters to develop and give the comedy space to momentarily step back. Musical numbers such as ‘True Colours’ are particular highlights, with the slower tempo and stripped-back staging handled sensitively and effectively, offering a welcome emotional pause within the show’s high-energy spectacle. Talbot’s direction in the opening also strikes the right balance of audience interaction as we are welcomed into the ‘Cockatoo Club’ - a moment that could easily feel awkward or forced, but instead lands with warmth and humour, setting the tone confidently for what follows.

Kevin Clifton as Tick/Mitzi, Adele Anderson as Bernadette, and outstanding understudy Fionan O’Carroll as Felicia/Adam are all perfectly cast. The chemistry they create is believable and a real pleasure to watch unfold on stage. Clifton, best known as a professional dancer on Strictly Come Dancing, proves he is more than capable of holding his own as a leading man in musical theatre. He brings real emotional depth to Tick, particularly in the portrayal of a father seeking to reconnect with his family, capturing both vulnerability and sincerity with confidence.

Adele Anderson as Bernadette and Peter Duncan as Bob create a sweet, highly likeable pairing. While their storyline sits slightly outside the main narrative, they capture the idea that love can be found at any age and in the most unexpected circumstances when the right person comes along. Though they are not given the same vocal demands as others on stage, their story is warmly and clearly told, bringing a quieter, more tender thread to the production.

O’Carroll’s performance also highlighted both the versatility required of understudies and the vital role they play within a production, particularly on a press night. Stepping confidently into the role, they proved more than equal to the challenge, bringing genuine vulnerability, sharp comic timing, impressive vocals, and excellent dance ability to the performance. Most importantly, they created a real connection with both the audience and fellow cast members, making Felicia feel vibrant, authentic, and emotionally engaging throughout.

The Divas, a constant presence throughout the show, were one of the highlights of the production, delivering incredible vocals throughout, with Leah Vassell standing out in particular through a powerhouse performance of disco classics.  The ensemble moments were among the strongest in the show, bursting with energy, precision, and vibrancy, and helping to drive the spectacle forward whenever they appeared on stage.

With choreography by Matt Cole, the large stage at Woking came alive during the musical numbers through routines performed with impressive precision and energy. Of particular note was Jak Allen-Anderson as Farrah and ensemble, whose stage presence was magnetic; whenever they appeared, my attention was immediately drawn to their energy, movement, and performance quality. 

Costume designer Vicky Gill had an enormous task in keeping pace with a production that rarely slows down, yet the costumes continually impressed throughout. A show like Priscilla Queen of the Desert demands sparkle, extravagance and unapologetic spectacle, and Gill clearly understood the brief perfectly. From elegant, beautifully detailed pieces to the gloriously outrageous, including unforgettable cake costumes complete with a cherry on top, the costumes provide the perfect finishing touch, enhancing both the humour and flamboyance of the production. Costumes are complemented by the stunning wigs, hair and make-up design by Craig Forrest-Thomas, with their work cut out to again match the spectacle and achieved excellently. 

Andrew Exeter’s set and lighting design are bold and visually striking, helping to carry the audience across the vast journey at the heart of the show. Priscilla herself remains the centrepiece of the design and is used creatively throughout, particularly in a clever moment where the bus splits into four separate pieces - a visually impressive effect that perhaps could have been explored even further. Combined with sound design by Ben Harrison and video design by Leo Flint, the production delivers disco classics that feel fresh and dynamic, accompanied by visuals that create a full sensory experience.

Priscilla Queen of the Desert is a collision of colour, spectacle, and disco classics, delivered with energy and heart. Beneath the sequins is a story about acceptance, belonging, identity, and family that still resonates powerfully with modern audiences. While there are moments where the production shows its age, its message remains an important one, carried by a cast and creative team who fully embrace both the joy and emotional depth of the piece. Vibrant, funny, and moving, this is theatre that proves Priscilla Queen of the Desert still has plenty to say and is well worth the ride.

Priscilla Queen of the Desert tours all over the UK and Ireland until 18^th July.

Dates and tickets here.