A FASHION ICON WALKS THE RUNWAY AGAIN
Well, it’s not exactly a runway, yet Jeanna de Waal, the actor tapped to embody the princess in La Jolla Playhouse’s new musical DIANA, certainly models quite an array of fashions from the Broadway costumer William Ivey Long to stunning effect. The challenge of a bio musical of this scope goes well beyond what’s in the closet though, because of the whole world’s fixation with this lady, relentlessly demonstrated in news coverage, books, TV specials, and the cinema. All of us believe that she’s OUR Diana.
So, how far do the creators (Joe DiPietro, book and lyrics; David Bryan, music; and Christopher Ashley, direction) “replicate” the original model? For some, the physical resemblance and other features will satisfy. For other super fans, though, she possibly will be found wanting. Stay tuned for the verdict of New York critics, although this may be one of those “critic-proof” shows
The producers likely will stay with this lady as the production inevitably takes residence on the Great White Way. Talent matters and this actor is bursting at the seams with star quality. Ms. de Waal may be shorter than Princess Di, but her total immersion in the princess’s character soon becomes evident. This critic misses the shy, downward glance of the younger kindergarten teacher (at least it isn’t “reading” from the stage), but finds her to be completely in her element as the character develops her sense of self, mirroring Diana’s circumstances in her real life.
Audiences may be expecting the glare of the camera to focus only on the actor playing Lady Diana Spencer, but in this production there’s another lady who incites a paparazzi frenzy. That would be the Tony-winning, renowned actor who wears the crown in this musical: Judy Kaye (“Queen Elizabeth” and “Barbara Cartland“). Whenever she makes an appearance, she warrants immediate attention even as the spotlights go into their dance (some of her remarkable Broadway credits include NICE WORK IF YOU CAN GET IT, THE PHANTOM OF THE OPERA, SOUVENIR and MAMMA MIA). For purely selfish reasons, I’ll also list the long-forgotten Broadway show OH, BROTHER! via the piano of one of my favorite composers, Michael Valenti.
Also deserving of applause is the performance of Erin Davie (“Camilla Parker Bowles”), who earlier impressed Playhouse audiences in SIDE SHOW, and here delightfully gives us plenty of fodder as the villainess in the story of the fairy tale princess. The partnership on the dastardly side of things – yes, that’s the way Diana partisans view him – features Roe Hartrampf (“Prince Charles”) in all his stuffy glory. He touches all the bases with his characterization…and quite successfully.
Joe DiPietro’s book manages to be sympathetic to Diana while still giving due to the other corners of the love triangle. His libretto is often clever, sometimes amusing and always respectful. Many of the most newsworthy players in the life of the princess appear on the stage. Gareth Keegan gets to show off his abs as “James Hewitt” and Bruce Dow engages in his usual antics as trusted butler “Paul Burrell”, one of the most colorful persons in her story. Even Nathan Lucrezio (“Andrew Morton”) enjoys the good fortune of portraying the icon’s biographer. (Tell us, Nathan, how weird is it to become Andrew Morton when the real one is sitting in the Mandel Weiss Theatre in the flesh watching you perform?) Overall, the elements of Diana’s story evolve so rapidly (in Act I especially) that audience members surely may not be able to catch their breath. Usually, it’s Act II that contains a boatload of serious book issues in a newly-hatched Broadway musical; however, this critic ventures that Act I holds the key to making this show rise to the occasion. At present, the feel of Act I registers as too episodic. Stop and smell the roses, if you will.
Certainly, a pop rock musical score, composed by Bon Jovi’s David Bryan, seems definitely on the mark as accompaniment to the troubled life of the people’s princess. After all, she was a close friend of the prolific tunesmith Elton John. Mr. Bryan’s output here seems less distinctive than that in MEMPHIS, his Tony-anointed Best Musical, but it does have its pleasures. “Snap, Click”, “Here Comes James Hewitt” and “The Dress” among a few other songs come to mind on reflection.
The always surprising staging, that is emblematic of Christopher Ashley, provides touches of elegance as well as opportunities for the more unseemly aspects of her story. Also, he honors her charitable work in Act II with reverence and minus a hurried approach in contrast to the earlier reference. Especially brilliant achievement on “This Is How Your People Dance” and “Him & Her (& Him & Her).
While necessarily ebullient at times, the choreography of Kelly Devine seems too frenetic. Though, in fairness, the ensemble dances up Diana’s stormy life to perfection. Well-disciplined and character-driven.
Ian Eisendrath handles the musical chores professionally with sparkling work from the ensemble, some wonderful jewel tones from Ms. De Waal as well as the other principals and a lively 9 pc orchestra suitably energizing the varying gifts of the score.
David Zinn designs a setting that pays homage to the beauty of Princess Diana with a nod to the joy her life represents, hemmed in by the pomp and circumstance of palace discipline and intrigue. Creative contributions of lighting designer Natasha Katz and sound designer Gareth Owen complete the rosy framework. And then there are those glorious threads of costume designer William Ivey Long!
Potential audience members who worry about the depiction of Diana’s tragic demise need not fret; with Mr. Ashley holding the reins of the production, rest assured that tastefulness rules the day.
Make no mistake about it, the creative staff have significant labors yet ahead, but this retelling of Diana’s story has already blossomed in response to the royal treatment so many have offered. Now Diana awaits her unveiling in NYC. Judging by the reception given by its audience tonight, it could be a crowning achievement for all involved. Oh, and Joe DiPietro and Chris Ashley, bring on more Barbara Cartland!
DIANA continues to enchant audiences on the campus of UCSD at La Jolla Playhouse thru April 14. Tickets are scarce.
pc: Little Fang
