Review: Priscilla Queen of the Desert – Palace Theatre

Drove down the M56 tonight expecting disco dazzle at the Palace Theatre’s tour opener (19–28 Feb), but got so much more. Sat with a great crowd – the lady next to me had never seen the 1994 film but reckoned she’d caught the show before. Palace buzzing, curtain up, and immediately you’re swept into the Australian outback with three fabulous souls on a battered bus called Priscilla.

Backstage with Nick Hayes: Representation, Gym Time & Finding Your People

Before curtain, I sat down with Nick Hayes, playing Adam – drag alter ego Felicia, Guy Pearce’s role from the film. “Huge shoes to fill,” he laughs. “Adam’s a little ratbag to start, but goes on the biggest journey of self-discovery. Dream role: dance, act, face up.”​

It’s two drag queens and a trans woman hunting one character’s child – “madcap capers to find each other and themselves,” Nick says. Personal for him: “Watched it young – first LGBTQ+ film that felt like ‘these are my people.’ Vital representation growing up. Doing that for a new generation? Magic.”

Timely too: “Issues haven’t gone away – minorities weaponized by politics. We need common ground, connection.” Historic casting: Adèle Anderson as Bernadette. “First time a trans woman plays the trans role, not a man in drag. Really important,” Nick adds.​

Music? Spud Murphy weaves disco classics into the story – I Will Survive, Say a Little Prayer, Finally, Kylie galore, Arthur’s Park, my fave Pat Benatar’s We Belong finale. Costumes by Strictly’s Vicky Gill: “Bigger, better. Sewn in, breakouts. Mine? Not much fabric – Baywatch body from page 10 gym grind.”​

The Show: Glitter with Genuine Soul

Everything Nick said landed spot-on, but what I didn’t expect? Grinning ear to ear at the ensemble’s energy, then genuine emotion swelling for those personal journeys – especially beside Adèle Anderson’s Bernadette, whose quiet dignity commands respect. Directed by Ian Talbot, choreo by Matt Cole, the bus rolls vividly across a vivid desert set, lighting popping, wigs towering.

Kevin Clifton brings Strictly sparkle as Tick/Mitzi, nailing the reluctant dad’s fabulous transformation. Nick Hayes owns Felicia/Adam’s arc, Peter Duncan grounds Bob the mechanic with heart. But it’s the ensemble that sells it – dancers flipping, vocals soaring, every beat tight. Vicky Gill’s costumes explode: neon feathers, impossible heels, enough sequins to power the Altrincham tram.​

Music That Sticks

Disco medley slays – those Kylie bangers hit different in context, We Belong closing with chills. Spud’s underscores sneak classics in seamlessly, audience humming along by Act Two.​

Audience Magic

My neighbour nailed it at interval: “Never seen the film, but this feels different – honours the story with fresh surprise.” Full house on feet by finale, proper cheers not just applause. Theatre’s gift: feeling better about life, even if corny. Okay, maybe a smidge camp… but true.​

MIX56 Verdict

Runs Palace til 28 Feb. Glitter, history, heart – Adèle’s Bernadette alone makes it essential. Nick’s right: these are our people. Playlist those Kylies home; they mean more now. Catch it – you’ll leave changed, sequins optional.

• Tickets available from ATG Tickets

Header image courtesy of Palace Theatre Manchester