Slay! The catchphrase of the evening, and one that perfectly encapsulates the energy, wit, and sheer joy of this production. From the moment the Fit Prince came alive on stage, it was clear that this was not going to be a conventional night of drama. Before the show even began, several members of the audience were invited to take on roles that would become integral to the performance.
Arriving a little before curtain up, I was a little puzzled and confused about what was unfolding before my eyes. Soon, however, it became apparent that this was part of the magic: the blurring of boundaries between performer and spectator, a hallmark of The Fit Prince. You can only imagine the different feel and outcomes that will happen each night depending on how the audience plays it. This was the first show in the run and despite the initial technical blips, took off at a fast pace.
At its core, the show is driven by two partners, actors and co-creators, Linus Karp and Joseph Martin, who have already taken this production to Edinburgh and beyond. For this particular run, the piece was cleverly adapted to suit the festive season, adding a layer of holiday sparkle without losing its sharp satirical edge. The audience participants embraced their roles, guided by an autocue that provided instructions and dialogue. Their enthusiasm was infectious, and the resulting performances—from BAAB (a hilariously camp ABBA tribute) to orphans, doppelgangers, and a priest who nearly stole the entire show—were met with rapturous applause. We must not forget the additional puppets that made several appearances throughout the show taking it to yet another level.
The production values were equally impressive. Original music by Leland added a vibrant soundtrack, while Stella Backman’s design created a playful yet immersive world. James Appleby’s lighting and Kate Marlais’s sound design ensured that every moment was heightened, whether through dramatic shifts in tone or cheeky comedic beats. Zack Pinset’s additional costumes brought flair and flamboyance, while Sam Carlyle’s choreography injected movement and rhythm that kept the energy high. The producers, Awkward Productions and King’s Head Theatre Productions, clearly assembled a team that understood the show’s unique blend of satire, camp, and audience participation.
The Fit Prince unfolds in the fictional country of Swedonia, a kingdom without a king. The central problem is that the prince must find a husband to preserve the monarchy—a premise that allows the show to explore themes of love, duty, and identity with both humour and heart. Alongside the live performers, cameo appearances via video link added another layer of comedy. These included Tove Lo as the Prime Minister of Swedonia, Sebastian Croft as Prince Balthazar of Bashington, Malte Gårdinger as Prince Carsten of Markden, and Joshua Whitehouse as Simon, Jacob’s fiancé. Misia Butler, Yshee Black, Kate Butch, Geri Allen, and Julia Bender also contributed memorable cameos, portraying figures ranging from Michelle Obama to Angela Merkel, each greeted with much hilarity.
What makes The Fit Prince so distinctive is its ability to balance satire with sincerity. While the show revels in camp excess and absurdity, it also carries a message about inclusivity, representation, and the joy of celebrating love in all its forms. The audience’s standing ovation at the end was not just a response to the humour and spectacle, but also to the warmth and generosity of spirit that the production radiated.
The evening concluded with gingerbread and Glühwein, a festive touch that perfectly complemented the seasonal adaptation. Though these treats may not be available every night, they symbolized the communal atmosphere that the show fosters—a sense of shared celebration between performers and audience.
In the end, The Fit Prince is more than just a play; it is an event, a party, and a statement rolled into one. With its clever writing, charismatic performances, and inventive staging, it leaves audiences not only entertained but uplifted. To borrow its own catchphrase: Slay!
Running from 8th December 2025 until 3rd January 2026
Reviewer - Penny Curran
On - 8th December 2025
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