A razzle-dazzle road trip: Priscilla Queen of the Desert comes to Scotland

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Priscilla Queen of the Desert is packing sequins, sass and a suitcase full of disco classics for a UK and Ireland tour that stops at the Edinburgh Playhouse next April, and the casting announcement has injected the whole enterprise with starry, showbiz bravado. Kevin Clifton joins Nick Hayes and Peter Duncan in the principal trio, with Adèle Anderson already confirmed as Bernadette — a line-up that promises equal parts high-kicking choreography and heartfelt queer storytelling.

Much beloved cheeky-shops himself, Kevin Clifton, brings a Strictly pedigree to the role of Tick/Mitzi, sums up why the show still matters: “It’s bold, joyful, and unapologetically full of heart… it’s about identity, family, and love in all its forms.” That sentiment sits at the centre of Priscilla’s long-running appeal: beyond the glitter and the jokes, it’s a story about belonging, resilience and the camaraderie you build when the world tries to put you in a box.

What the tour bills up front is the pure entertainment — an irresistible punch of hits from the 80s and 90s: “It’s Raining Men”, “I Will Survive”, “Girls Just Want to Have Fun” and more, all of them given the full-sheen musical-theatre treatment. Expect razor-sharp choreography, showstopping group numbers and the sort of costume gymnastics that make glitter practically a character in its own right. Vicky Gill, the BAFTA-winning designer best known for her work on Strictly Come Dancing, has created over 100 looks for the production; she calls the project “a dream come true” and talks warmly about how every sequin and feather must tell the story in motion.

Director Ian Talbot’s staging, with Matt Cole’s choreography and Andrew Exeter’s set and lighting design, promises to lean into the show’s Broadway energy while keeping the heart in view. Priscilla’s emotional centre is a trio of mismatched performers traversing Australia in a battered bus, and it’s that road-trip logic, the idea of becoming a found family in motion, that gives the spectacle a surprisingly tender spine.

Casting highlights give the show both theatrical clout and a sense of ensemble warmth. Kevin Clifton takes Tick/Mitzi’s double life in his stride; Nick Hayes will split the role of Felicia/Adam with comic sparkle; Peter Duncan rounds out the lineup as Bob/Preacher, bringing a veteran’s knowing stagecraft. Adèle Anderson’s Bernadette, meanwhile, promises the dry-faced resilience and offbeat humour she’s known for. The tour also features a deep company of singers, dancers and dancers-turned-actors; a roll call that includes established West End names and new faces poised to be scene-stealers.

There’s a practical side to the glamour: Gill’s costumes are designed for movement, a reminder that Priscilla isn’t just about looking fabulous but about living in the clothes while you sing and spin. That marriage of form and function will be central to the show’s success on tour, where quick changes and demanding choreography can make or break a number.

If you like to laugh loudly and leave the theatre humming, Priscilla is your night out. If you’re after depth under the sequins, the show still offers it: the journey’s small, human moments — friendship, hurt, forgiveness — keep the spectacle grounded. Tickets are on sale now, and the tour heads to Glasgow’s King’s Theatre before strutting into the Edinburgh Playhouse from 14–18 April 2026.

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