I genuinely cannot fathom why this production exists
romance novelThere is a musical number about Diana’s famous photo op with AIDS patients, and another that refers to a showdown between the women in Charles’s life as “the thriller in Manila between Diana and Camilla” in the chorus.or the big chandelier crash. Imagine a sonic Thomas Kinkade painting of the Princess Diana Beanie Baby, and you are approaching the experience of this production.
But the show was just entering previews on Broadway when Covid-19 shut everything down in March 2020. And so Netflix—which has obviously had a great deal of success with the Windsors and their many domestic travails, in the form ofIt goes without saying that this Broadway production misunderstands almost everything about the British royal family; though, to be clear, this is a common American problem.
But, frankly, I couldn’t even get all that far into the specifics of how the musical handled the characters involved and its faithfulness to the historical record, because I simply could not get past what the hell was unfolding on stage at any moment. Here is the number in which Diana longs for Elton John rather than Bach and announces “If Queen were playing now, Freddie Mercury would slay it!” It culminates in a fantasy of her and Charles—and I apologize for writing this—rocking out together.
There are two numbers explicitly about clothing: “Pretty Pretty Girl,” about Diana using her fashion icon status to garner attention for her causes, and “The Dress,” duet with the man playing butler Paul Burrell, in which they sing about the powers of a “fuck-you dress,” culminating in the reveal of her famous black “revenge” dress.
It is perhaps a warning, though—a reminder that it’s so easy to land square in made-for-TV-movie territory with this sort of ripped-from-the-headlines story, generally, and Diana presents a special sort of danger. Best intentions notwithstanding, most portrayals land somewhere in the vicinity of that famous Franklin Mint doll.
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