Review: Priscilla Queen of the Desert – Bohemians – Edinburgh

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At Edinburgh’s grand Festival Theatre, the Bohemians Amateur company—a cornerstone of Scotland’s unpaid theatre industry since 1909—has rolled out a spirited production of Priscilla Queen of the Desert (March 12–15, 2025) that fills the vast space with colour, sequins, and song. Stephan Elliott and Allan Scott’s jukebox musical, born from the 1994 cult film, traces the journey of three drag performers—Tick (Mitzi), Bernadette, and Adam (Felicia)—as they traverse the Australian Outback in a battered bus. Their destination: a casino gig in Alice Springs, where Tick aims to reconnect with his young son.

Along the way, they face intolerance and camaraderie in equal measure, all set to a glittering playlist of disco hits like “I Will Survive” and “Girls Just Wanna Have Fun.” It’s a tale of self-discovery and defiance, and the Bohemians render it with a warmth that resonates, even if the book’s humour may occasionally skirt close to the bone for modern tastes.

A Central Trio That Commands the Stage

This production’s heart lies in its leading trio, who deliver performances of remarkable depth and charm. Greg McCafferty-Thomson, a mainstay of Edinburgh’s amateur scene, is outstanding as Tick, his charismatic stage presence anchoring the show with a professional leading man’s polish. Graeme Melvin channels The Bird Cage’s Nathan Lane’s iconic performance to bring a wry elegance to Bernadette. Dean McAvoy, as the caustic Felicia, struts believably in high heels, an enfant terrible whose tart exchanges with Melvin spark laugh-out-loud humour. Their chemistry, deftly nurtured by director Burnett, is no happy accident; it’s the backbone of a show that thrives on human connection.

Supporting players amplify the ensemble’s energy. Rosie Sugrue, Felicity Thomas, and Fife’s Emily-Jane Lister form a superb trio of Divas, their gleaming vocals pumping out disco hits for the leads to lip-sync or harmonize with. Were these three any less stellar, this show wouldn’t work nearly so well.

Joshua Daniel Fleming’s cheekily scrappy Miss Understanding and eight-year-old Finn Craig, as Tick’s son, bring memorable flair to smaller roles—Craig is a particularly confident young performer with that touch of stage know-how needed to make a mark. The large chorus, rare in its depth of tenor and bass for the non-pro circuit, delivers Stephen ‘Spud’ Murphy’s arrangements with genuine power, a testament to the Bohemians’ ability to muster operatic scale. (You’ll struggle to find a professional show with the budget to put together such a thumpingly huge choir.)

Technical Feats and Minor Fumbles

The production’s technical elements impress, though not without flaws. The sound balance—loud, proud, and crisp—ensures the cast’s vocal talents and the band’s lively performance ring clear, a credit to the work of Sound Designer and Operator Murray Armstrong with MM Sound and Lighting. I’ve witnessed more than one big-ticket show in the Festival Theatre which lacked such excellent balance.

The costuming is adventurous, even by Edinburgh’s ambitious amateur standards—the central trio swap glad rags with dizzying frequency, and no cast member escapes without at least two changes, a parade of sequins and audacity that fits the show’s spirit.

The staging is impressive, not least the larger-than-life-size bus that anchors the visual spectacle with tangible grit. Fiona Burns’ choreography handles the large cast with practised style, each number feeling fresh as dancers twirl through big set pieces. Finlay Turnbull’s musical direction brings Stephen ‘Spud’ Murphy’s arrangements to life with flair, particularly in the ensemble numbers.

Yet there are hiccups: a few fumbled mic cues mean lost words, though nothing unforgivable in a show of this scale. More noticeably, the final 20–30 minutes falter with two prolonged set changes that disrupt the momentum. A lighter touch on scene transitions might have kept the narrative’s flow smoother, though the ambition behind the staging remains evident.

A Book With Heart, Even When It Stings

Elliott and Scott’s book, now three decades old, still carries a good heart, even if some humour lands near the bone. However, anyone familiar with LGBTQI+ comedy clubs in 2025 will know that when the library opens no one is above being read, and the Bohemians inject these shady moments with warm intentions. The darker scenes, where intolerance and violent bigotry confront the trio, are genuinely arresting—amateur casts can struggle with believable menace, but here the spite feels real, a credit to Burnett’s direction. These moments contrast starkly with the show’s abundance of lighter comedy, especially the sparks between Felicia’s barbs and Bernadette’s stately retorts.

Choosing musical highlights is tough when enthusiasm courses through every number, but a few rise above. McCafferty-Thomas’s heartfelt “I Say a Little Prayer,” harmonized with the Divas, is a total heart-winner; the ensemble’s radiant “Colour My World” glows like Petula Clark’s finest hour; and the set-up for Jimmy Webb’s “Macarthur Park,” with its baking theme, is perfection. Melvin’s touching snippet of the Village People’s “Go West” also deserves kudos for its clever blend of crooning and old-school musical theatre glamour.

A Finale That Earns Its Ovation

Director Burnett has crafted something special here, ensuring no scene or character feels like an afterthought, even with so many moving parts. The medley finale, a heartwarming crescendo, deserves the audience rising to its feet to join in, as they did on the night I attended.

For Edinburgh theatregoers seeking an uplifting buddy story with a cracking track of iconic numbers, delivered in style, this Priscilla Queen of the Desert has it all. The Bohemians have once again proven their knack for professional (or near enough) polish, mounting a production that dazzles with heart. It’s not without its (tiny) bumps, but its spirit—and its outstanding performers—make this a road trip well worth taking.

Featured Image: The cast of The Bohemians’ Priscilla Queen of the Desert – credit: Ric Brannen Photography. – All Images: Ric Brannen Photography

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Interested in Priscilla Queen of the Desert? Learn more or get tickets here.

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