Linus Karp, one half of the creative team behind The Fit Prince (Who Gets Switched on the Square in the Frosty Castle the Night Before [INSERT PUBLIC HOLIDAY HERE]), tells The Theatre Playbook about bringing this holiday movie parody to the London stage.
It’s a holiday movie mash-up from the creative team behind Gwyneth Goes Skiing and Diana: The Untold & Untrue Story that tackles festive favourites in a uniquely queer, interactive, comedic and heartfelt way.
From Awkward Productions, The Fit Prince (Who Gets Switched on the Square in the Frosty Castle the Night Before [INSERT PUBLIC HOLIDAY HERE]) is now playing at King’s Head Theatre in London following its hit run at the Edinburgh Fringe.
Panic! In Swedonia. The King is dead and the prince in line to the throne is unmarried – if he doesn’t find someone soon he must forfeit the crown!
In New York City, baker Aaron Butcher is butchering his career as a family baker. His puppet colleague, the optimistic Jenny Puppetson, submits his name for a mysterious royal commission in the faraway land of Swedonia: he’s been selected to bake the wedding cake for the Prince himself. Extremely reluctantly, and mostly to spite his ex, Aaron accepts. Maybe a commission in the non-location-specific country of Swedonia will fix his problems…
Written by and starring Linus Karp and Joseph Martin with original music by Leland and multiple surprise cameos, the show is described as a joyous subversion of heteronormative romcoms and a love letter to Karp’s native Sweden.
Linus and Joseph are also a real-life couple of 10 years, and this is the first time they are playing romantic leads opposite one another on stage. Audiences are invited to join them for a show embracing queer joy, wild silliness and camp theatrical brilliance from start to finish.
Here, Linus tells The Theatre Playbook about the inspiration behind The Fit Prince, explains why every performance is a unique experience and reveals the key to a successful parody.
What are the origins of the show?
Joseph and I spent Christmas 2022 ill with Covid. For close to two weeks we watched endless Netflix and Hallmark holiday films. We felt like we wanted to put our own awkward prods spin on one of those stereotypical storylines, making it queer to the max. We added A LOT of audience participation, cameos from many of our fave people, some catchy musical numbers written by Leland and, of course, some beautiful puppets – and here we are!
What can you tell us about The Prince, Aaron and the world of Swedonia?
After the death of his father, Prince Elian is suddenly facing the fact that he must marry or his family will lose the crown forever. Like all royals, he’s annoying and entitled, but he has got a big dick (Swedonian for heart). Aaron is a baker from New York, who after his recent breakup decides he needs a bit more adventure in life and travels to Swedonia where he’s been commissioned to bake a cake for the upcoming royal wedding. Swedonia is a great European nation, located next to Genovia, Aldovia and Monternaro. It’s the home of beautiful blonde people, incredible pop music, saunas and amazing nature – but for legal reasons it’s completely different from Sw*den.
Are there any themes you wanted to discuss through the show?
We wanted to tell a joyous queer love story. Often queer theatre is centred around tragedy – AIDS, bullying, homophobia – and while those stories are obviously important, we also think it’s essential to show stories focused on queer joy, especially in these times. Christmas is also a time that for many queer people can be challenging, we wanted to create something that really makes the yuletide gay, a space where being queer is the norm. The show also deals with, in a very ridiculous way, how quickly even the most idyllic places can fall into fascism if we don’t work against it. Puppetry is our best defence against fascism.
How did you want to follow up Gwyneth Goes Skiing, Diana: The Untold and Untrue Story and How to Live a Jellicle Life?
I felt like I wanted to do a show inspired by my own Swedishness and also a show where I for once don’t play a woman – giving range and showing that even male characters can be funny, which was a real challenge. It also felt fun to create new characters rather than relying on a blonde iconic woman (even though we do have one of those in this show too in the form of Tove Lo!).
Why did you want to create a show about traditional holiday movies?
Because it’s time they got properly queer!
What’s the key to a successful parody?
To do it with love. We love these holiday films, we love Cats the movie, Princess Diana and the Gwyneth Paltrow ski trial. I think you can feel very quickly when a show is done with maliciousness towards its subject, and personally I think it’s much more enjoyable to do shows around things you love.
What elements did you want to include – and leave out?
Include: A clichéd love story, a fictional European country with weird laws, an orphanage, horse riding… The list goes on. Leave out: heterosexuality.
What was the writing process behind the show?
We talked about all the scenes and story moments we wanted to include. What was typical of these type of films and what aspects of Swedish culture we wanted to show, and where we wanted the show to go. Then we created a story around it.
How do you consider performance as you’re writing?
We don’t. I think it’s important to just be a writer in that process. Write the things that make the best story. How it’s staged is the director’s problem. The fact that we’re also the directors we’ll deal with later…
And how does the show change each night? Is it ever the same?
We have 18 audience members taking on roles in the show. So, a substantial part of the show is different – and there are certain moments of well controlled Improv and playfulness that means that every show becomes quite different.
How does the show bring together on-stage performance, puppets, digital elements and more?
We love mixing performance style, and feel like every show is greatly improved by puppets and a fun musical number.
What can you tell us about the digital cameos in the show – and how is this achieved on stage?
A lot of fun can be had using digital performers, and it also means we can have a big cast of the show, and still make it affordable. We have such incredible performers in this who all bring so much comedy and sparkle – we can barely believe we’ve got people like Tove Lo, Sebastian Croft, Josh Whitehouse, Malte Gårdinger, Kate Butch, Jeremy McClain, Julia Bender, Yshee Black, Geri Allen and Misia Butler appearing in the show!
Has the show evolved for King’s Head Theatre since it was performed at Edinburgh Fringe?
We’ve made some tweaks and made it even more festive… Plus there’s now something happening after the show has finished, think of it as a post credit scene…
What challenges have there been in developing or staging the show?
A challenge we occasionally faced at the fringe was that the title, alongside with the puppets, meant some people seemed to think it was a show for children. It is not… Haha.
What can audiences expect from The Fit Prince?
A ridiculous fun evening out that will make you 80% gayer and leave with a newfound appreciation for the culture of the wonderful country of Swedonia.
The Fit Prince (Who Gets Switched On in the Square in the Frosty Castle the Night Before Insert Public Holiday Here) is at King’s Head Theatre from December 2, 2025 – January 3, 2026. Tickets here.
Top image: The Fit Prince (image supplied)