Created by Conor Murray and Hannah Power

Directed by Emma Finegan

Review by Aislinn McSharry

Underbelly Cowgate – Belly Dancer

A hilarious love letter to friendship, growing up, and most importantly, to Princess Diana, Conor Murray and Hannah Power’s Don’t Tell Dad About Diana is truly the greatest, funniest, and most heartfelt show at this year’s Fringe Festival.  

In Dublin, August 1997, two best-friends prepare for the Alternative Miss Ireland contest with their Princess Diana drag act; Little do they know, secrets between them are about to emerge, and tragic events are about to unfold… which makes their Diana “revenge dress” number to a DJ remix of the iconic “there were three of us in this marriage” line, more than a little ill-timed. Outrageously funny, yet devastatingly genuine, the play spans from ecstatic Diana drag performances and ridiculous shows of friendship, like Hannah’s shocking form of retribution against a boy who physically hurt Conor when their secret relationship is uncovered, to the unravelling of their different life trajectories after secondary school. The show’s silly, perfectly curated chaos, and high upbeat energy throughout is underscored with tender shows of friendship, uniquely and enthrallingly presenting struggles of growing up. Raucous laughter, utter engagement, and even tears, are induced from the audience at the skilled hands of Murray and Power.  

A brilliant comedy-duo, Murray and Power complement each other throughout: Hannah makes Diana’s dresses for the competition, whilst Murray is Diana, and he stuns, strutting, dazzling, and perfecting his choreography. This dynamic is facilitated throughout: Hannah is feisty, fierce, determined, and protective – she loathes Conor’s brother on his behalf – whilst Conor is theatrical, flamboyant, sweet, and utterly loveable. Standout scenes include the infamous house egging, Conor’s in-store “accident”, that distracts the staff so that Hannah can steal material for “the revenge dress”, and the final emotional denouement, when Conor spots Hannah on television in London at Diana’s funeral, reflecting on the sadness of being apart, but how they are following their separate dreams.  

The inclusion of Conor’s queer identity, in the face of a very traditional and hardline nationalist father, is very well explored, and refreshingly, doesn’t capitulate to usual queer tragic tropes. In a state of mourning for both Diana, and Hannah, after a serious argument, Conor’s dad finds him dressed as Diana; Initially kicking him out, Conor recreates his father’s shout, sudden and imposing, harshly contrasting to Conor’s character. Still an emotionally charged depiction of the situation, Conor’s light-hearted effervescence remains intact, in a fittingly stressed state. Hannah’s grandma’s awe at Conor’s tribute to Diana, with him singing Andrea Bocelli’s “Time to Say Goodbye” at the competition, followed by Conor’s father’s later acceptance, makes for a queer presentation that acknowledges the struggles relating to his sexuality, whilst embracing and prioritising these acceptances. Additionally, this show felt like a love letter for the relationships between gay men and women; Often only shallowly depicted in media, with the gay man more a token than a fully formed individual, Murray and Power’s relationship was multi-facetted and wholly identifiable, finally giving this dynamic the complexity that female friendships often achieve.  

The use of the wardrobe made for sleek and slick set transitions: one set of wardrobe doors opened into Conor’s room, where the doors were a shrine to Diana, and the lavish garments Hannah made were spread out. The other, on the back side of the wardrobe, opened out to show a silver tinsel curtain (from which Conor emerged when performing) with “Alternative Miss Ireland” posters on the walls, noting the date 31st August, hinting at the inevitable news about Diana. Multi-functional, with intimate detail, it was an effective use of set and props.   

Despite the play claiming to be an ode to Diana – with affirmations, in a quasi-song/ speech about her at the opening, like “Forget The Beatles, she’s bigger than Jesus” – Murray and Power’s play really feels like a divine, captivating shrine to friendship. Giving audiences an hour of constant cackling, coming-of-age charm, and cheerful chaos, Don’t Tell Dad About Diana is the absolute standout of this year’s Fringe Festival.  

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