Creator and director: Christopher D. Clegg
The life of Princess Diana has long been an inspiration for queer theatre makers. The drama, the camp glamour, the ostracised outsider supporting other marginalised communities. So it was perhaps only a matter of time before a Six-inspired, drag queen-led take on the famous tale hit the stage.
From the director behind drag murder mystery Death Drop, this is part gig, part biography – although the audience is warned a few liberties may have been taken with some of the facts.
Given that Kitty Scott Claus launches into a fabulous rendition of Britney Spears’ Lucky, dressed as a teen version of the so-called People’s Princess, within the first few minutes of the show, it doesn’t feel like that warning is altogether necessary. Kitty and four other queens all play Lady Di through the years. Together, they tell the tale of an impoverished commoner who meets her Prince Charming and falls in love before it all unravels. Not quite accurate, but as the cast regularly points out: that is not the point here. This is a tribute to the icon and legacy, as much as the person.
The setlist looks epic and they really rattle through the numbers in 90 minutes. Lady Gaga, Carly Rae Jepsen, Beyoncé. They’re all there. This is loud, camp and high energy. For the most part, the queens pull off the performances, although this is seriously loud and, on this occasion, there were a fair few mic issues.
The Diana Mixtape started life in an underground club in London and has only just transferred to a large stage. It’s not clear if it was ready. Quite literally on opening night, the show went up more than 15 minutes late. As well as the sound problems, there appeared to be a few lighting and costume fails too. That being said, this is ambitious.
Christopher D. Clegg’s direction may have opted for concert-style staging, without excessive scenery, but he hasn’t gone for an easy life. The arrangements by Matthew Harvey are staged in fun and creative ways. In one sequence, Priyanka hops onto a moving treadmill in heels, singing and moving while also donning the minefield look. No, really.
The costume changes of River Smith’s gorgeous outfits are numerous. One on-stage stitching together of the famous bridal dress, as scenes of the real wedding are projected onto the ivory, is actually quite moving. Unsurprisingly, Taz Hoesli’s choreography is sharp, current and on point.
And the Queens are giving it everything. Rosé, in particular, can belt them out. Courtney Act has all the required star power. Divina De Campo is acerbically witty, yet accessible. They all have the pout and head tilt down to a tee too.
And they’re supported by a crew of talented dancers who don’t get a break at all during the running time, plus a bit of star power.
Noel Sullivan is surprisingly authentic as Prince Charles, albeit with a dose of silliness. A little underused perhaps, Keala Settle as the late Queen Elizabeth has to be seen to be believed. Kelly Rowland’s Commander is an inspired song choice. Although she’s played for panto villain laughs, Camilla (Lucinda Lawrence) nearly steals the show.
To be clear, this is not Six. This is not polished musical theatre. But it is not pretending to be. It is camp, chaotic and a little bit subversive.
If they can iron out the issues, then this is going to be a riotous royal romp to revel in. But bring your earplugs and make sure you’ve had a few drinks first.
Runs until 21 August 2025
