12 – 13 November

Charles & Diana: The Reunion Tour at Tobacco Factory Theatres is a lively, nostalgic romp through the 1980s, reuniting the imagined duo of Charles and Diana for a night packed with humour, music, and cheeky satire. Produced and performed by Tracey Collins and Russell Lucas, this show invites audiences on a “musical cruise through the cultural commonwealth” of the decade, featuring hits from Ultravox to Yazoo. It’s a celebration of ‘80s spirit, rich in laughs and laced with a generous dose of kitsch.

The production opens with a laid-back, playful vibe that feels almost like a DIY karaoke night, with Collins and Lucas clearly revelling in their roles. The pair bring a quirky, bickering energy to their Charles and Di dynamic, while their glam costumes, vivid makeup, lighting and sound design create a retro feel that’s both accessible and endearing. The show doesn’t take itself too seriously; it embraces its lo-fi aesthetic with a kind of winking charm, making it feel as though we’ve all been invited to an exclusive, if slightly chaotic, ‘80s party.

Projected visuals and interactive elements—including an ‘80s trivia quiz and impromptu disco moments—add to the communal atmosphere, with an audience largely of a certain age relishing this spirited journey down memory lane. The camaraderie in the room is tangible, and the show smartly plays upon a shared nostalgia that invites audience members to sing, sway, and reminisce together. Collins and Lucas recreate some familiar ‘80s figures and routines with an endearing roughness that fits the tribute theme. 

For a show that’s more about collective memories than cohesive narrative, Charles & Diana: The Reunion Tour may lack theatrical sophistication, but for fans of the era, it’s an oddly charming, entertaining evening that succeeds in reviving the spirit of a decade. Collins and Lucas have crafted a performance that feels as much for them as for the audience, creating a shared experience that’s both fun and familiar—a tribute to the pop culture moments we can’t quite leave behind.

★★★☆☆  Tilly Marshall,  13 November 2024