Jon Conway’s creaky drama revisits the death of Diana, Princess of Wales, and hints that it was the result of a murderous plot instigated by “the establishment”, Prince Philip and the British arms trade. The latter were allegedly worried their profits would plummet if the supposedly pregnant Christian “people’s princess” married the Muslim Dodi Fayed, thereby causing world peace to break out.
The show garnered column inches in the quiet news period between Christmas and New Year, largely for its revelations that James Hewitt might have begun his relationship with Diana earlier than previously admitted. But this tedious, barely competent show is mostly very old news, recycled from rumours, conspiracy-theory websites and the research of an obsessive Australian, John Morgan, who has written nine books on the subject.
No less obsessed is fictional playwright Ray (played by Conway himself), who is writing a show proving that Diana was bumped off by shadowy “men in grey”. Ray has already had one breakdown, and his insecurities and suspicions about his wife’s fidelity reach dangerously high levels as his research into Diana’s death snowballs. But as Ray would say, just because you’re paranoid doesn’t mean people are not out to get you, pointing to fears Diana expressed about her own demise shortly before her death.
The play is nobbled by a basic lack of craft, a troubled relationship with the fourth wall that requires urgent therapeutic help, perfunctory staging and performances, and a selective use of evidence. It mixes fact and fiction to suit itself. Though there are plenty of reasons to believe the state and its servants will use snooping, cover-ups and lies against us, this tawdry evening tackles its subject in sensationalist tabloid style rather than with seriousness. It’s only treasonable offence is for conspicuous crimes against theatre.
• Until 14 February. Box office: 844 493 0650. Venue: Charing Cross theatre, London.
