DIANA: THE UNTOLD AND UNTRUE STORY Takes Royal Mischief Global
Now, whenever I hear about a production that uses puppetry or spoof-like theatrics, I’m instantly intrigued.
That’s exactly the thought that fluttered through my mind upon learning DIANA: THE UNTOLD AND UNTRUE STORY is embarking on an international tour—stopping off not only in Thailand but also in Australia, Canada, and Europe. It’s a lovingly camp, unapologetically queer production that reimagines the Princess of Wales’s life from a vantage point seldom explored: heaven, apparently. Buckle up, because the irreverence is about to go global.
Drag, Puppets & Royalty
When a production combines drag, multimedia, audience interaction, and a healthy dose of queer joy, you can anticipate a theatre experience that’s as unpredictable as it is celebratory. DIANA: THE UNTOLD AND UNTRUE STORY promises precisely that—a comedic swirl of cardboard cut-outs, puppet characters, and cameo appearances from unsuspecting audience members. It’s a format that’s quite reminiscent of boundary-pushing shows at the Edinburgh Fringe, where comedic genius thrives on risk and the bizarre. Indeed, that’s exactly where Linus Karp first made waves with this campy take on the People’s Princess, and the roaring response led to its expanded run across multiple continents.
All signs point to sold-out crowds and a fair bit of social media buzz, not least because the show is stuffed with star power. If you’ve been glued to your phone in recent years, you’ll likely be familiar with Rob Madge, the viral TikToker and West End talent behind My Son’s A Queer (But What Can You Do?). Now, they’re stepping in to voice Mother Teresa—yes, you read that correctly—ensuring that no comedic stone is left unturned. Madge’s contribution, according to the production team, is brief but wildly fun, which suits the show’s quick-fire comedic style to a tee.
As for the Princess herself—she’s played by Karp, who single-handedly leads the storytelling from heaven, sprinkling a surreal, fourth-wall-breaking viewpoint onto the beloved royal figure. This might sound like risky territory, but the show’s success at the Fringe proves that audiences have an appetite for something unabashedly outlandish. And after the unstoppable wave of fascination spurred on by recent Princess Diana pop culture moments, from The Crown to Spencer, it’s no wonder punters are flocking to see an entirely fresh (and cheeky) take.
A Royal Reception With A Twist
If you’re expecting a traditional stage drama with carefully polished sets, think again. One of the most talked-about elements of DIANA: THE UNTOLD AND UNTRUE STORY is the sheer variety of performance methods it employs. Prince Charles, for example, appears as a cardboard cut-out. Meanwhile, Camilla Parker Bowles is rendered in puppet form—a comedic flourish reminiscent of old-school Punch and Judy, only subversively reimagined for the House of Windsor. Queen Elizabeth II beams in via interactive video, and everyone else is portrayed by the audience themselves.
Imagine arriving at the theatre only to discover you might be cast as a random aristocrat, or worse—an unwitting palace official. It’s the sort of dynamic that ensures no two performances are exactly alike, giving the show that “must-see-now” quality so beloved by theatre buffs who adore bragging rights to the strangest nights out.
Sure, one could argue that portraying the Royal Family in such a spoofy light is hardly revolutionary—countless comedic sketches have done so for decades. Yet what sets this piece apart is the unrestrained sense of queer celebration. The creative team insists that the show exudes inclusivity, capturing the idea that Princess Diana, in many circles, still stands as an icon of compassion, rebelliousness, and forging one’s own path. By weaving drag and audience participation into the tapestry of a well-known story, the production aims to spread joy, spark conversation, and highlight the comedic resilience of the LGBTQ+ community.
The Star-Studded Supporting Cast
Let’s talk voice actors, because this is where things get delightfully wacky. Rob Madge is stepping in as Mother Teresa—which, if you’re scratching your head about how that cameo might sound, rest assured you’re not alone. According to Madge, the show leaves them with “painful cheeks”—but not merely from delivering comedic lines. “Every time I see it,” they say, “I’m left with the most painful cheeks. But enough about what happens in the dressing room.” That playful banter extends to Linus Karp as well, who jokes that Madge charges “£1,000,000 per word,” which is why Mother Teresa’s cameo is so succinct. True or not, the comedic synergy between these two could be a main event in its own right.
The other voice talents include Joseph Martin (who also co-directs and serves as puppeteer and stage manager) as Charles and Camilla, Geri Allen (from Operation Mincemeat) as the Queen, Zina Badran (seen in Doctor Who) as God, and the Broadway star Jeanna de Waal—famed for playing Diana in Diana: The Musical—in a surprise role. If you needed any further hint that this production prioritises comedic friction, the notion of “Diana the Musical” star now cameo-ing in this farcical reinterpretation practically shatters the fourth wall into confetti.
For the lucky audiences in Thailand, Australia, and Canada, there’s also an added pre-show treat: Pixie Polite from RuPaul’s Drag Race UK will perform. What better warm-up for a comedic extravaganza than a bit of drag star sparkle?
A Creative Brainstorm
DIANA: THE UNTOLD AND UNTRUE STORY is produced by Karp’s Awkward Productions, with Karp writing, directing, and performing the titular role. Meanwhile, the creative squad includes designer Amy Pitt, choreographer Sam Carlyle, composer-graphic designer Wez Maddocks, and lighting design courtesy of Ebbe Rodtborg and additional LX designer James Appleby. This distinctive line-up suggests a cohesive blend of scenic creativity, comedic timing, and audio-visual trickery. Puppetry consultant Tara Boland also lends her expertise, which no doubt informs Camilla’s comedic cameo, and Carrot is on board as drag and makeup designer, ensuring every flourish is as flamboyant as the concept itself demands.
One detail that might surprise you is the show’s cunning ability to oscillate between broad comedic strokes and heartfelt nods to the real Diana’s legacy. Rumour has it there’s a tender moment or two nestled among the jokes, paying homage to the late Princess’s philanthropic spirit. The interplay of pure camp and heartfelt remembrance is no easy feat to pull off. Yet the comedic style at the helm—born in the hothouse of the Edinburgh Fringe—has a tradition of weaving pathos through irreverence.
The International Itinerary
The tour spans Thailand, Australia, Canada, and various parts of Europe—a route that not only underscores the universal fascination with Princess Diana but also highlights the show’s portability. Minimal sets (like that cardboard Charles) and a reliance on multimedia make the production surprisingly nimble when it comes to travelling. For theatre enthusiasts Down Under, the moment the show hits our shores could become one of this year’s can’t-miss comedic events, especially if you’re partial to interactive theatre that merges pop culture with the bizarre.
The choice to bring Pixie Polite along for certain performances is equally strategic. Drag Race alumni often command a loyal following, guaranteeing a built-in audience eager to see what comedic havoc might unfold. Add to that the unconventional staging, and you begin to see why early ticket sales might soar: you’re essentially guaranteed a wild, one-of-a-kind evening out.
Diana, Activism, And The Power Of Queer Joy
At first glance, you might be lured in simply by the comedic premise—heavenly Diana, puppet Camilla, and so forth. But scratch beneath the surface, and there’s a story here about celebrating the underrepresented, bucking tradition, and maybe even reinterpreting monarchy itself in a queer context. Diana’s status as a beloved figure in many LGBTQ+ communities is no secret: her championing of people living with HIV/AIDS and her empathy for marginalised groups struck a chord, even decades on from her passing.
For the show’s creators, that lineage provides a perfect scaffold on which to dangle comedic absurdities without losing sight of the Princess’s real-life philanthropic efforts. The result? A multi-layered comedic escapade that might leave you pondering how pop culture, activism, and queer expression can converge in such a riotous format.
Some productions manage to balance utter ridiculousness with genuine warmth, pulling audiences in with the promise of laughs and sending them off with a tingle of shared humanity. By all accounts, DIANA: THE UNTOLD AND UNTRUE STORY stands firmly in that category. There’s a twinkle of mischief in every mention of cardboard Charles or cameo-based queenly spats, but there’s also an undercurrent of homage—an understanding that Diana’s life was indeed extraordinary and that her influence still resonates widely.
As Rob Madge quipped, we might be left with “painful cheeks” from laughter, but it’s the kind of comedy ache that’s well worth it. And with global stops on the horizon, the show promises to extend its royal—and quite possibly rebellious—reach to theatre-lovers far and wide. So if you’re seeking an evening steeped in joyous nonsense, layered with a dash of surprising poignancy, keep an eye out for this production on its world tour. Grab your tiara (or your favourite puppet) and prepare for a hilarious, occasionally cheeky, but ever-so-tender audience with the People’s Princess reimagined. Because sometimes, the best tributes to history’s brightest icons are the ones that dare to spin them into brand-new, gloriously absurd shapes—and invite us all to laugh along in the glow.
