Opening with pizzazz, glitter, music and dancing: Priscilla promises out of the ordinary soul-lifting glamour and doesn’t disappoint. This new tour differs slightly in its choices from previous versions, but there’s no denying it is brim full of joy and heart, and everyone on the stage oozes their love for the show which translates to us all watching. Kevin Clifton seems to be the stage world’s new leading man, and here he is a revelation as Tick, the unwilling leader of the trio making their way across the desert from Sydney to Alice Springs, often being the peace keeper, diplomat and referee between his two bitchy bickering chalk and cheese friends: Bernadette and Adam.
This stage musical version premiered 20 years ago but some of us still remember the groundbreaking film on which this is based, which is now shockingly over 30 years old. However the world initially viewed this little movie, it transitioned to mainstream culture and is now known the world over, launching an almost unknown Guy Pearce and Hugo Weaving into superstardom, and giving us a Terence Stamp nobody thought possible, as the transgender Bernadette. These originators are still held as the gold standard to inspire others. In this particular show we have Dakota Starr as Bernadette the transgender woman, giving her such gentleness, grace and beauty it was a delight to see. Dakota presents quite a subtle Bernadette, less overtly bitchy, with a gentle power that you still know not to push. Theirs is a really interesting choice, and fascinating to watch.
When Nick Hayes bursts onto the stage as Felicia (Adam) oozing sexuality and suggestion everybody sits up and takes notice. His physique is so toned to perfection that if it was a photograph you’d swear it had been airbrushed or photoshopped. Many of the dancers have incredible physical tone, and flexibility in the movements are absolutely jaw dropping. When Adam is later himself without his costumed alter ego the bitchiness comes out in force, particularly awful is dead-naming Bernadette which she obviously reacts to. Despite there being many things not to like about Adam, Hayes plays this role so full of character and depth that we sympathise with him, knowing where he’s coming from.
Tick / Mitzi is perhaps the trickiest character to play, being the gold between two diamonds. Kevin Clifton plays Tick with deep understanding with lovely depth of character, giving him such authenticity and groundedness, even in high heels. As the person between his two friends he holds his own which is very tricky as the others shine so loudly. Clifton lets Tick’s personality shines through, where previous versions have often shown Tick not to have much personality. He has such a wonderful stage presence, being natural where the other two seem larger than life as is their characters, and his voice soars, holding pitch perfect notes with strength in his beautiful vocal tone. The harmonies between the three when they happen are gorgeous, symbolic of the blending and understanding they have of each other by the end. And what a true joy to glimpse some of his dancing in real life, in small moments where he didn’t need to rein it in to be with the others.
The whole cast shine in this production. Sario Solomon is totally fabulous as Miss Understanding in this particular show: huge stage presence and hilariously funny, making her impossible to look away from. Michael Afemare stands out in the ensemble, as does Dance Captain Nathan Ryles who is stunningly striking every time he appears, including the splits, which are super impressive. Peter Duncan is a joy to watch as Bob: bringing such genuineness to his heartfelt performance. The Divas are also more fully present in this version throughout the show, moving in unison with ease without looking at each other, each taking the lead in different songs. Their voices both individually and together are chocolate velvet loveliness. Leah Vassell, Bernadette Bangura and Jessie May light up the stage with their presence and their soaring vocals, being every bit as glittery and glamourous as their drag queen colleagues.
The bus coming apart to show different vehicles when Bob goes to the all male meet-up is genius, although having stage crew visible on stage to move the bus in the beginning is very odd. The projection arc showing their journey through the desert behind the bus is delightful, and this show, perhaps more than any other musical, excels to the highest level in glorious costumes, wigs and makeup. The choice to show the character Shirley daubing the bus with the slur is an interesting one: where these things being anonymous and coming from anywhere makes them more threatening as this is so often the case, making the focal point the receivers of the attack and how they react, rather than giving us someone to be angry at and hate. By the end of the Bar scene Shirley has usually mellowed and accepted them.
This tour is more brim full of heart and soul than previous tours have been, giving this welcome depth behind the glitter. You can take a show like this on so many levels: the feel good show that it is, leaving us dancing out of the door with joy in our hearts; but you can also see the deeper life underneath; that a film, then a show, starting over 30 years ago, is still as relevant now: talking about the homophobia they encounter on their journey, as it was then.
Some of the brilliant one liners peppered throughout the show have even more resonance now: including the discussion about a big city, where Bernadette poses the question of whether the wall of suburbia is built to keep them from getting out, or others from getting in: in our lovely diversity embracing bubble of a city it can sometimes be a shock to glimpse parts of the wider world. It’s there in the background for people to think about if they feel so inclined, but for everyone present showered in glitter confetti canons in the finale, this is one of the best feel-good shows in existence, celebrating life, love, and being yourself at all costs. Priscilla is as ever one of the best musicals there is: heartwarming, joyful, and bursting with life and colour. A five star worthy show of fantastic, fabulous quality. A must see.
Theatre Royal Brighton, 16 June 2026
Priscilla Queen Of The Desert runs until 20 June 2026
Photos credit: Johan Persson
