Review: DIANA at Theo Ubique

DIANA THE MUSICAL, the ill-fated Broadway musical about the former Princess of Wales (a filmed version of which was one of the top “hate-watching”programs on Netflix last year) is enjoying its Midwest debut at Theo Ubique.

It is the last production Theo’s late Artistic Director Fred Anzevino worked on before his untimely death. In his 28 years with the company, Anzevino seemed to always be up for a challenge, finding flawed/dated productions and breathing new life/meaning into them.

Long before Off-Broadway’s THE JELLICLE BALL or even Paramount’s current circus-infused production both succeeded in finding a new way into the well-worn production of  CATS, Anzevino succeeded in elevating the show through a new-found opening (which put a decidedly human spin on the evening by opening with T.S. Elliot presenting his daughter with the collection of poems he wrote for her birthday that would become the basis of the show). It remains my “favorite” production of the Andrew Lloyd Webber old chestnut (it’s a relatively short list; I’m not a fan of that show).

Much like how acting by Steppenwolf’s ensemble can sometimes elevate a less-than-perfect play, Theo’s productions under Anzevino’s tutelage often manage to rise above the faults of the source material.

Such is the case with DIANA. The book by Joe DiPietro may have single-handled created a new genre of musical, “the Wikipedia Musical” as it slavishly regurgitates the bullet points from Diana Spencer’s Wikipedia page without offering much in the way of further insight.

The music by David Bryan feels very much like a 1980s musical and the lyrics by both DiPietro and Bryan technically rhyme, but are, for the most part, so uncomfortably clunky (think “CARRIE”), you will undoubtably find yourself wincing (despite the songs being well sung). 

With actual lyrics such as “It’s a ‘thrilla in Manilla/but with Diana and Camila” and “It’s better than a Guinness, better than a wank/snap a few pics, it’s money in the bank” (among others), between the book, the music and the lyrics, there is a massive deficit that the creative team on stage and behind the scenes has to overcome.

Someone needed to decide what this show wants to be. The script remains equal parts satire, camp comedy and earnest musical drama. Unfortunately, this task never gets handled in any satisfactory manner. It’s still a jumbo mess of a show. Gloriously sung by the entire cast with a graceful and poised performance by Kate McQuillan as the title character, the show, co-directed by Anzevino and Brenda Didier, remains a mess none-the-less.

Musical theater aficionados love a train wreck, so Theo will no doubt find an audience for the flawed show.

Colette Todd’s performance of Camilla is perhaps the most layered in this production. The character as written could easily be the “villain” of the piece, but Todd thankfully doesn’t seem to be comfortable with leaving the role there. Instead, she begins the show as a modern-day Henry Higgins, doing her best in a “Pygmalion” way to turn a shy, 19-year-old nursery school assistant (the script wrongly refers to her as a Kindergarten helper; a term not used in the UK) into the perfect princess bride.  

Much like the George Bernard Shaw classic, it isn’t too long before Camilla’s creation begins to think and advocate for herself. McQuillan’s work here is interesting to watch as Diana begins to navigate the complex rules of the royal family and begins to assert her own power (the show’s opening song “Underestimated” comes to fruition in front of your eyes. Diana begins to accept the crappy terms of “The Worst Job in England” but on her own terms).

Jack Saunders does the most with what he can in the role of Prince Charles. The character is essentially written as a “mama’s boy” seemingly unwilling to make decisions for himself so he instead leaves everything up to his mother the Queen (Jacqueline Grandt) or his mistress.  

Grandt also stands out as the rigid matriarch and Diana’s gawdy-dressed, eccentric step-grandmother/tawdry romance novelist Barbara Cartland. Grandt is a delight to watch, particularly in the second act opener “Here Comes James Hewitt." 

As Hewitt, Dan Gold plays the dashing British cavalry office who had an affair with Diana, but his character is envisioned by Cartland as one of the shirtless and hunky male protagonists in her books.

It is rare for one to feel sorry for an actor, but you’ll probably be inclined to do so when Gold is forced to sing: “I can take you for a ride/all your troubles cast aside/you’ll dismount satisfied.” It’s cringe-worthy and the script treats Hewitt as a not-so-smart boy toy. Still, props to Gold for being game in all of his six-pack abs glory.

Jon Parker Jackson also has fun as Diana’s confident, butler and personal assistant Paul Burrell, particularly in the number where McQuillan dons a replica of the “revenge dress” by Christina Stambolian that she wore to successfully steal focus and attention from the broadcast interview of Prince Charles discussing his infidelity.

In addition to the "revenge dress," Patty Halajian’s costumes faithfully recreated some of Diana's signature fashionable frocks and clothing (including Warm & Wonderful’s iconic black sheep sweater she wore at one of Charles’ polo matches before their marriage).

Kevin Barthel's multiple wigs in the production are also amarvel, recreating some of Diana's signature coifs. 

The show’s most moving moment is “Secrets and Lies” in which Diana visits an AIDS ward, forgoing any gloves, masks or medical protection to sit with patients (ensemble members Nicholas Ian and Matheus Barbee are particularly effective in elevating the scene). The humanity and compassion on display caused some sobbing within the audience on the night I caught the show.

Sure, the subject matter is handled far better in Nick Green’s play CASEY AND DIANA, but the intimate scene is directed and acted so well, it is exactly the kind of thing that deserves to be a part of Anzevino’s legacy.

Did the "People's Princess" deserve better treatment that DIANA? Absolutely. Still, Theo Ubique's production is still worth a look if for no other reason than to celebrate the life's work of Anzevino. 

DIANA runs through July 6 at Theo Ubique Cabaret Theatre, 721 Howard Street, Evanston. www.theo-u.com.

Chicago Awards - Live Stats

Best Musical - Top 3

1. HAIRSPRAY (Uptown Music Theater of Highland Park)

7.4% of votes

2. RENT (Highland Park Players)

7.3% of votes

3. THE WIZARD OF OZ (Up and Coming Theatre/Elgin Summer Theater)

6.6% of votes

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