Priscilla is a hard show to describe. It's a bit like someone's taken 'Now That's What I Call Camp', some Vivienne Westwood designs and thrown it together (with a disco ball) in a blender...but it's also absolute genius!
Adapted from Stephen Elliott's 1994 film The Adventures loo oh of Priscilla, Queen of the Desert, the stage musical tells the story of two drag queens and a transgender woman, who contract to perform a drag show at a resort in Alice Springs, a resort town in the Australian desert.
As they head west from Sydney aboard their bus, the three 'friends' come to the forefront of a comedy of errors, encountering a number of strange characters - as well as homophobia - while widening comfort zones and finding new horizons.
After a successful run in Australia, 'Priscilla' enjoyed a two-year West End stay in addition to its Broadway debut in 2011. The show was nominated for the Laurence Olivier Award for Best New Musical as well as two Tony Awards, winning these awards in the costume design categories.
It feels like I've seen so many incarnations of this show, but it's safe to say it never get's old. Priscilla is the gift that keeps on giving, with probably some of the best costuming, staging and scores of any theatre show. This is a high-octane rollercoaster of emotion with the cast taking you from poignant to disco in any given five minutes!
One thing I think it's important to note is the scale of this production. Priscilla has always been a very OTT offering, but this production in particular feels next level in terms of staging and energy. In particular, the lighting and set design is exquisite and Andrew Exeter deserves a round of applause for a significant development in the shows visuals.
Some productions of the show have teetered on the edge of caricature when it comes to accents and mannerisms and, whilst Priscilla certainly needs to emphasise it's Aussie connection, it can sound slightly jarring to a British audience. This production avoided that and managed to hit just the right level without over-doing things, which was welcomed by the audience.
The role of Tick, in the stage musical was written for Jason Donovan so, in any production, the man who fills his boots (literally!) needs to have the impact to pull it off. Strictly legend-turned-theatre superstar, Kevin Clifton is definitely in that bracket, slipping into sequins and feathers with ease.
Clifton is made for the role which, considering he's been doing this professionally for a smidge over seven years, is testament to his talent.
His co-stars; Nick Hayes (Felicia/Adam) and Adèle Anderson (Bernadette) were equally as strong and, in a show where so much is placed on the shoulders of the three leads, it was pleasing to see such credible talent come to the floor. Switching between bitchy and tender in a heartbeat they managed to show both vulnerability and sassiness in equal parts.
A particular audience favourite being Anderson's delivery of the ultimate comeback in the outback bar - but I'll leave you to find out what that is for yourselves! Her chemistry with Hayes is palpable and their delivery of lines was casual, believable and perfectly done.
It's also incredibly refreshing to see the role of a trans woman in the show being played by a trans woman - that lived experience really makes Anderson's performance stand out for all the right reasons and long may it be a tradition that continues in future productions.
However the trio can't do what they do without the other members of the cast supporting them and that support came in droves this evening. Special mention should go to Leah Vassell, Bernadette Bangura and Jessie May as our incredible Diva's who's voices were simply outstanding.
In fact the entire cast seemed to 'click' perfectly to produce a slick, rehearsed and crowd pleasing show. The supporting cast had an infectious energy that spread like wildfire around the room - every single person in that auditorium was on there feet during the finale and the deafening screams at the end capped off an evening of amazing entertainment.
To put it bluntly, this production reminds you why theatre is so beloved across the UK.
I’ve NEVER heard an audience reaction like the one in Birmingham this evening. The ovation at the finale sounded like an arena applauding - and the emotional release was astonishing. I’ve no doubt this production will stay with people for a long time.
In 2026 there are still countries where it would be illegal to stage a show like this and we should be incredibly proud that not only is it staged in the UK, it's celebrated.
Priscilla runs at Birmingham Hippodrome until Saturday 28th March. For more information, or to get your tickets, head to birminghamhippodrome.com.
