It’s been 18 months since Labour’s “loveless landslide” swept him into Parliament. 18 months of voting for things he doesn’t understand. Constituents he can’t help. Abuse. Failure. Late-night drinking sessions.
And so we find him.
One man. One constituency office. Wondering how he got here - and how the hell he gets out.
Then terrier-like journo Abi McCormack calls.
Things are about to get a lot worse…
The Red Prince is a comedy about loneliness, inadequacy, and the people we elect to run our country.
We sat down with playwright Tim Dawson to learn more.
What can you tell me about The Red Prince?
The Red Prince is a comedy about a rookie Labour backbencher, experiencing a long night of the soul. If that sounds maudlin, I really hope it isn't. There are loads of jokes, and it's quite physical. But the aim is a satirical comedy which is perhaps a little scrappier and more focussed on humanity and emotion than we've seen for a while.
What inspired you to create this piece?
I've always been fascinated by the type of people who wash up in the political world. What drives them. I have enormous sympathy for politicians really, particularly those further down the food chain. I like the challenge of trying to strip away party colours and look at the people underneath. There is so much to write about. It's such a concentrated mileu of human drama and emotion, which is perfect territory for a writer.
Can you talk about the character of Craig Kitman and his journey?
Yes. As a boy, Craig had precisely the kind of upbringing that convinced him he was destined for great things. He's middle class, and slightly ashamed of it. Minor public school, Russell Group university - very much the type of person who would end up an MP at a relatively young age. Crucially, he's not a bad man - though he is pent-up and frustrated, and morally somewhat ambiguous. The great victory of 2024 has soured, and Craig has found himself stuck. Worse than that: not only has he stopped rising, he's on the slide.
How do you navigate the balance between humour and serious themes in your work?
Serious themes create tension - and that tension then heightens the comedy. Serious themes are useful to a comedy writer. It's why sitcom episodes set at funerals for example can be incredibly funny. Ratchet up the tension and you should be able to ratchet up the laughs, too.
Has your previous work and experience helped you in creating this piece?
I wrote a Radio 4 Afternoon Drama, Not For Turning, about young Conservative activists. That helped. Sitcom teaches you all sorts of techniques, but the influences here are more literary. Though there are plenty of jokes. I hope the play will appeal to political geeks, comedy geeks and casual audience members who want to enjoy a funny play. I appreciate that is quite a tough ask, but it is what we are going for.
What is your own writing process like?
Write in the morning, when I can. Wander around Manchester in the afternoon - or do other work - for example, re-wrting or re-jigging or working on a script sent to me through the Script Consultancy I run for British Comedy Guide (I edit BCG Pro, which is the site's platform for writers and comedians). I find the morning and evenings are better for writing, the afternoons better for rewriting and mulling things over.
This production sees you reunite with Susan Nickson, how thrilling is it to get to work together again?
It's lovely. Susan and I have been friends for many years. So I'm really pleased she's doing this. I have got out of her way and left the interpretation of the script very much up to her and Benjamin May, who plays Craig.
You've enjoyed a career of writing for stage and for screen, do you have to approach either any differently?
They're different animals, but the process is largely the same. At the end of the day, you just have to sit down and write it!
What was the first piece of theatre you remember having a big impact on you?
I went to the theatre a lot in my teenage years. I remember seeing David Benson as Kenneth Williams - his one man show. Brilliant. I remember seeing The Dumb Waiter - again, brilliant (makes me feel slightly guilty about a cheeky Pinter joke in the script). The History Boys at the National Theatre, with the original cast, was fantastic. The Play What I Wrote... Round The Horne Revisited... A fabulous production of A Winter's Tale, which was hilarious. I always enjoyed comedies, or shows with comic elements, because the laughter turns the experience into a partnership. My favourite bit of working in sitcom was always recording the show in front of an audience.
What keeps you inspired?
People. As long as there are people, there will be stuff to write about.
What would you hope someone takes away from seeing The Red Prince?
I hope people think it was primarily a funny play, with a thoughtful undertone. It'll be interesting to see what the audience make of Craig.
The Red Prince runs at The Lion and Unicorn Theatre in London from 24th February until 7th March 2026. Tickets and more information are available from https://redprinceplay.co.uk/
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