Priscilla Queen of the Desert the Musical is the kind of show that will polarise audiences. For the average theatregoer looking for a camp and vibrant evening, this is a feel-good musical to give you enough escapism on a rainy winter’s evening. However, for theatre purists looking for finesse, substance, and a night without outdated stereotypes, probably best to catch the next bus. 

Twenty years since the musical’s first outing in Sydney, the latest revival of Priscilla has opened at Manchester’s Palace Theatre Manchester ahead of its fourth U.K. tour. 

Directed by Ian Talbot, the musical is adapted by screenwriter Stephan Elliott of the queer, classic cult film The Adventures of Priscilla, Queen of the Desert, and Allan Scott, focusing on two drag queens and one transgender woman as they journey across Australia for an adventure of self-discovery. While the film succeeds in encompassing the depth of the three protagonists and their personal growth, the musical’s thin book doesn’t allow the audience many moments of substance, focussing predominantly on the camp and pizzazz of the life of a showgirl. Despite this, productions such as this remain important in helping represent the LGBTQ+ population on mainstream stages. 

The cast are predominantly strong in their interpretations: Kevin Clifton (Tick/Mitzi) and Nick Hayes (Felicia/Adam) bring charisma, flair, and panache, particularly during musical numbers, while Adele Anderson (Bernadette) brings heart where able in the script, with a standout moment during MacArthur Park. Although in a stereotypical role, Isabella Glanznig Santos steals the show as Cynthia, a true standout performance taking humour and camp to the next level. 

Where the basic script brings humour, and the shoehorning of classic disco tracks can be overlooked for the entertainment factor, the production lacks cohesion and suffers from pacing issues due to seemingly unnecessary and elongated musical numbers- with crowded staging sometimes hindering Matt Cole’s explosive choreography. Other scenes appear over-directed, with the characters seeming stationary and waiting their cue for the next line rather than living and breathing. 

However, Andrew Exeter’s lighting and set design significantly amplify the production compared to previous iterations, bringing a spectrum of colour and intensity juxtaposed against the neutral backdrops of the outback and other drab, dated locations, with support from Leo Flint’s vivid yet minimalist video design; this flavourfully supports the vision rather than encompassing the scenes. Design continues to excel with Vicky Gill’s sparkling costumes and Craig Forrest-Thomas’s WHAM- each piece primarily camp, bold, and extravagant, ensuring all in attendance can absorb the entire spectacle. 

While not without its flaws, Priscilla is an enjoyable, albeit throwaway, night of escapism that I’ve no doubt will satisfy the masses. It’s camp, fun and proves that you can, actually, do that with a ping pong ball…  

Playing at Manchester’s Palace Theatre until Saturday 28th February, further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Pamela Raith.