“Diana: The Musical” Review: The film version of this Broadway show with casual comedy and scary dialogue

And now wellspring for luxury and sacrifice, winter for Windsors and Charles. Now Netflix has given us a film version of the stunning and stunning Broadway show Diana: The Musical. Which was filmed last summer at the Longacre Theater on West 48th Street without an audience.

In contrast, the show itself was suspended due to the Covid pandemic. And while you wait for the Pablo Larin movie with Spencer, with Kristen Stewart as Diana, this has to happen. Despite the danger, it causes hyperventilation.

Not after the movie “Cats” did I scream from my seat, “What? What? WHAT?”

Only when Diana gets on stage behind Jellicle’s cat can it be a stranger. If it were a deliberate satire, it would be awesome, but it’s not. This is a story with teary eyes about Diana’s life.

The Princess of Wales, with a rocking chorus of henchmen and refugees, in costume transforms into a roaring tabloid phalanx. At the same time, Diana solemnly warns of her loneliness and determination in a group of spotlights.

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Directed by Christopher Ashley of La Jolla Playhouse. This (weird) book, music and lyrics were written by Bon Jovi pianists David Brian and Joe DiPietro. The best known for the hit show Memphis. Diana is played by British musical theatre star Jeanne de Waal. Who looks creepy as Tina Brown, channelling Victoria Wood.

Erin Davis is Camilla Parker Bowles; Rowe Hatrampf is a cocky veteran of Charles and Judy Kay’s Broadway doubles as queen. And so is Diana’s grandmother, dressed in writer Barbara Cartland’s romance chiffon. The only character that offers at least a hint of intentional comedy.

Aside from Mel Brooks’ classic fictional stage production of the Third Reich, the most imaginative musical seems to be the extravagant elephant under Lloyd Webber, the elephant! and their naughty suitcases.

This is another study of terrible loneliness. We start with the single girl Diana, confused by Charles’ interest in her and trusting her older sister Sarah, who is alone with the Prince of Wales. He told Diana that it would suit Charles: “Despite everything, you are still a virgin!”

The lines of dialogue have become more and more enduring since then.

Carried by a bloated and choking Charles to a cello recital by Mstislav Rostropovich, Diana sings: “Russians play and carry on / Like an endless telethon / How I want to be Elton John!” (“Phone”? Really?) Charles and Diana began their relationship amid press and royal mockery as Charles continued to see secular Camilla Parker Bowles. Still, Diana soon became pregnant with their first child, causing Charles to sing. “Honey, I’m holding our son / So let me say it happily!”

My nervous breakdown occurred when Diana’s second child was born, and she sang the following lines in her crib: “Harry, my red-haired son / You will always be matchless!” And I succumbed to total meltdown when Charles danced furiously on stage routine with Wayne Sun calling for a behaviour change. “How about getting started / Don’t act like a TART… Diana!”

Ordinary people, on the other hand. And are interested in something other than life. When Charles and Diana met “people” from Wales, these ordinary people had bushy hedgehogs.

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Diana later met some AIDS patients, and they were at least much more respectful. When Diana and Camilla face each other on the ice, it’s a tremendous and stuffy fashion party where people mockingly sing, “A night like this, I envy the poor / your party can’t be so boring.” Again, a deliberate satire would be excellent.

This is a Rocky Horror Picture Show for stupidity and a misjudged Judy Garlandification. I can imagine the masochists gathering for Diana: The Musical Party to sing the most gruesome lines with the cast. The rest need a long bed.