Review: The Worst Princess, The Radlett Arts Centre

Middle-scale family theatre of quality is a rare find, but Bedfordshire-based Full House Theatre certainly deliver with this real gem of a production for ages 3+. The Worst Princess is a joyful, beautifully crafted and clever adaptation of Anna Kemp and Sara Ogilvie’s best-selling book of the same title. This revival of the 2023 production is even more relevant two years on as it gently, in a totally age-appropriate and playfully subtle way, asks the young audience to explore gender stereotyping and feel confident to champion their own self-determination. As our protagonist Princess Sue, played by a versatile, deeply likeable Susannah Cann (who has the most gorgeous singing voice), tells us in a powerful spoken word-style rap at the end of the show: 

Well here we are then, we’ve arrived at the end
And I intend to extend my wish that you don’t pretend
Be who you are, be proud, don’t blend
You never know, you might just find a dragon as a best friend
You might just start your happy end.

The talented ensemble cast of four (Tamara Saffir, Freya Stephenson, Kieron Michael and Lawrence Harp, who plays the feckless Prince at some points), sing, puppeteer and multi-role with flair, using a range of clever theatrical styles through the whole gambit of ‘fairytale’ characters: from bored courtiers, to a bright green frog, a misunderstood rabbit, a wardrobe full of ball dresses (a real highlight) and of course, a dragon. 

Under the guidance of puppetry director Suzanne Nixon, the dragon is conjured and constructed in front of the audience. While cleverly maintaining its threat and the dangers of its fiery breath, the audience are not frightened into a screaming frenzy. Like a subtle metaphor, it turns out he’s sad, lonely, and simply tired of being hunted. All he really wants is a friend who understands him. Sue quickly sees this, and the two become lifelong pals. With his help, Sue escapes the tower she has been locked into by her prince. This is a show that has been developed through direct consultation with young people, and that really shows here.

Director Harriet Hardie takes us on a whirlwind 55-minute journey set within a simple yet versatile design by Sophia Lovell Smith. Like Rebecca Applin’s music and sound design, the visual and sonic world begins firmly in fairytale territory. At first, it feels like a Disney-esque experience, with swelling music and glittering castle walls – but soon, we realise all is not as it seems. As Sue attempts to entertain herself and dream of her prince, it becomes clear that this life isn’t enough. At that point, the sophisticated soundtrack begins to subvert expectations: lush violins and birdsong give way to the lonely tick of a clock. This brave, extended moment of near-silence captures Sue’s growing frustration. She doesn’t know exactly what she needs, but she knows she needs something different. Audience members, caught up in her dilemma, call out in support, urging her to break free.

When the music returns, everything has changed. The key is darker, the tempo more urgent. It’s as if a sixth character has entered the story, musically driving the action forward through a varied score of musical styles, spoken word and songs, culminating in a triumphant disco diva anthem.

And then (spoiler alert!) in a joyful twist not found in the original book, the sword-swinging prince considers that kissing the frog prince might just allow him to live the life he’s always wanted but never dared to admit. It’s unexpected, uplifting, and an entirely fitting ‘happily ever after’. Great stuff and perfectly thought out for a young audience.

Based on the book The Worst Princess by Anna Kemp and Sara Ogilvie
Adapted for the stage by Harriet Hardie, Ben Miles & Gareth Cooper
Director: Harriet Hardie
Original score: Rebecca Applin
Set and Costume Designer: Sophia Lovell Smith
Puppet Design and Creation: Helen Foan
Puppetry Director: Suzanne Nixon
Musical Director: Sam Sommerfeld
Lighting Designer: Sean Gleason

The Worst Princess is aimed at ages 3+ and played at The Radlett Arts Centre. The production continuing its tour across the UK until Sunday 29 June.