‘Diana: The Untold and Untrue Story’ Offers Wacky and Playful Escapism: Review

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Image credit: Linus Karp/Awkward Productions

★★★★✰

It’s a fair understatement to say that, historically, criticising the royal family has been one of Britain’s biggest taboos. If one dares to question the dubious actions of a monarch or their relatives, it usually arouses strong feelings of outrage amongst the general public. We’ve already seen the extent to which Meghan Markle was vilified by the British press, furthered by her accusations of racism inside the Royal Household. It seems like an impossible feat to try and dismantle this glorified image. Yet Linus Karp’s Diana: The Untold and Untrue Story fully excels in this department with a show that offers wacky and playful escapism from uptight conservatism.

Royal scandals are laid bare in this outlandish retelling of Princess Diana’s life which is distasteful yet also incredibly endearing. Linus Karp stars as our elegant and demure People’s princess who has descended from heaven to share her story. While this version of events may not be entirely “true”, it poignantly encompasses the trials and triumphs of her life. From the troubling realities of her marriage with Charles to her extensive charity work, her tragic yet remarkable story is told through the lens of satire by incorporating various outlets from audience participation to puppetry, which unsettles in its reviling of certain figureheads in the Royal circle.

Our new King Charles III is stripped of all dignity and nobility as he is depicted as a cardboard cut-out, with his voice over possessing a polite yet slimy quality. However, this degrading characterisation seems tame in comparison to Camilla who is portrayed as a demonic beldam who is branded as “mistress of chaos” and “harbinger of doom”. Scenes which depict the more intimate nature of their relationship are so crude and protracted that you feel like washing your eyes out with bleach at the end. 

Many moments within the show evoke a similar response, causing many audience members to laugh out of discomfort. However, it’s this unnerving edge to the humour which makes this production so unique. The audience are constantly challenged with comedy that crosses boundaries of acceptability, dismantling the untouchable image of those who are held in such high regard. It’s such a fun experience and audiences certainly relish in being able to let their hair down and poke fun at figures in authority. 

In this way, the audience participation really works in this show’s favour. The atmosphere is so silly and light-hearted that it almost feels like you are part of a close-knit community. As such, when members are plucked from their seats to act out certain scenes, there is never a hint of awkwardness. Everyone is just enjoying the moment, especially when it’s at the expense of the people that were once considered untouchable. 

The script is unrelenting in its depiction of Charles’ extra-marital affairs which caused uproars of laughter from the audience. This comically magnified villainy accentuates Diana’s saintly and delicate character making her alleged mistreatment by the Royal family all the more unjust and cruel. 

While there are times that the show seems more focused on mocking the royal family than Diana’s story, this production is still full of heart which is all down to Karp’s impeccable performance. Despite the zany antics going on in the show, he is always fully immersed in the role, maintaining an elegant composure throughout while also capturing her identifiable youthful innocence. This charming characterisation acts in itself as a heart-warming tribute to Princess Diana, showcasing her enduring legacy of kindness while also accentuating her outsider status in the Royal family which made her so identifiable.

Linus Karp’s Diana: The Untold and Untrue Story is a charming experience for anyone who doesn’t mind a darker style of comedy. While Royal sycophants should stay well clear, I think many people will find some satisfaction in mocking the dubious actions of those who are usually considered exempt from criticism.  

Words by Katie Heyes

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