JADAR

★★★★☆

Ahead of the long-awaited sequel to the legendary The Adventures of Priscilla, Queen of the Desert – which Terence Stamp film shortly before he died – a brand-spanking-new production of the stage musical is back on the road, fittingly beginning during LGBT History Month in a city that is as gritty as it is gay: Manchester.

Priscilla, Queen of the Desert follows two drag queens and a transgender woman who travel across the remote Outback of Australia in a battered bus named “Priscilla” to perform a cabaret show at a casino owned by the ex-wife of one of the queens. It highlights themes of friendship, self-acceptance, and overcoming prejudice, as they face hostility, bond with locals, and find chosen family. It’s a damn good plot that has mostly aged well, particularly its handling of transphobia (and even transphobia within the queer community), though there is a reliance on outdated stereotypes, from country bumpkins and Thai brides to horny gays who want to trick straight men into sleeping with them – only to get gay-bashed and almost raped as punishment.

This production has thankfully cast a trans woman as Bernadette, with Adèle Anderson bringing authenticity to the part. Whilst she is not the strongest singer and dancer, the diva has a remarkable amount of energy for her age, and she brings a lot of heart; the part clearly means a lot to her. Kevin Clifton – who has followed his Strictly sister, Joanne, into musical theatre – is the central figure, Tick / Mitzi, who orchestrates the daring road trip. Clifton quickly proves any potential naysayers wrong; he’s a triple threat. Some people may criticise the casting of a straight man in the role but the character is sexually ambiguous (it isn’t really any of our business!). Nick Hayes, who was the best thing about the disappointing previous production, returns as Felicia / Adam. He is undeniably the strongest performer; he was clearly trained in musical theatre. The core cast is rounded off with the charming Peter Duncan as Bob, Bernadette’s love interest.

The score uses most of the songs from the film as well as other songs, mostly ’70s and ’80s disco classics. The songs have mostly been well selected and arranged. Some songs feel a bit shoehorned in but they work because the show is purposely not taking itself too seriously – it just feels like a cabaret show, where they throw everything but the kitchen sink! I’m glad the show avoided too many obvious choices, especially the overused and clichéd queer anthem ‘YMCA’. Felicia’s ABBA obsession has been replaced with Kylie, which feels more relevant and contemporary – and Aussie! On Broadway, the Kylie medley was replaced with Madonna songs to better suit an American audience, what with Kylie never really making it over there.

In the film, the queens lip sync to the original tracks. In the musical, the queens both sing themselves (usually non-diegetically, though Felicia is a singing queen) and lip sync to the “divas”, honouring the sacred art within drag. The vivaciouslly voiced disco divas are played by Leah Vassell, Bernadette Bangura and Jessie May (also Shirley).

The cast includes Garry Lee as Miss Understanding, drag queen who loves Tina Turner; Billy Hardy as Marion, Isabella Glanzing Santos as Cynthia, Jak Allen-Anderson as Farrah / Young Bernadette, Alexander Emery as Frank, Sario Solomon as Jimmy, and an epic ensemble.

Director Ian Talbot honours the original film but makes the story feel fresh, with Andrew Exeter’s set design feeling authentic but also modern and hip, though the production could have more often and creatively utilised the screens that opened up the action. Whilst the set overall could benefit from a larger production, Exeter’s lighting, which evokes both old school discos and modern nightclubs, brings drama, with Leo Flint’s occasionall video designs adding atmosphere. Vicky Gill’s costumes are gorgeous, and Craig Forrest-Thomas’ diverse array of wigs are fitting for a drag musical. The drag make-up consists of clear masks, which is very clever; some of the designs are stunning whilst a few would probably not be worn by legitimate queens. The looks would also look better if the cast wore lipstick though I appreciate it may be hard to keep reapplying it and wiping it off.

Matt Cole’s fierce choreography is a nice blend between cabaret, musical theatre, and mainstream pop. The big number at the end uses members of the ensemble to portray the central trio, suggesting quick changes, but unfortunately they twice messed up on press night, leaving the stage too late one time and too early the other! I do wonder, however, if they should do this intentionally on the final change, with a queen looking at the audience awkwardly or something.

The production also has a few pacing issues. Sometimes, the stage feels overcrowded and busy, with too much going on, or characters seemingly just waiting their cues, which feels a but awkward. Whilst these clunky, clumsy moments do not occur too often – and the quick change number will no doubt be evened out – they stand out in an otherwise well-directed and well-designed production.

Priscilla, Queen ot the Desert is a camp, creative crowd-pleaser that triumphs over the previous production, which struggled with its tiny budget. Whilst this creative team could have done so much more with a larger budget, that is sadly not the reality for most touring productions today. The team recognised the budget constraints and cleverly worked out how to bring a pretty blank set to life with choreography, lighting, and video design – but without relying too much on video designs, as many modern productions do. Whilst there is room for improvement, the issues are only small, and the production is too fun, feel-good and fabulous to focus on the flaws.

Priscilla, Queen of the Desert runs at Palace Theatre Manchester until February 28 and tours the UK until July 18.

Photo: Pamela Raith Photography