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Making its Midwest debut, Theo Ubique presents “Diana,” a musical about the life and legacy of Diana, Princess of Wales, running through July 6. Co-directed by Theo’s co-founder Fred Anzevino, Brenda Didier pushed forward alone as co-director following Anzevino’s passing in April. The story of subterfuge and infidelity within the Royal Family is supported by a rockin’ live band conducted by Kevin Zhou, delicately balanced sound design by Matthew R. Chase and expert casting by Christopher Pazdernik, with actors sharing an uncanny resemblance to their real-life counterparts. All come together to tell the tale of the woman with “the worst job in England.”
“Diana” explores themes of social standing, reputation and courtship, including love triangles, adultery and betrayal, like something out of a Barbara Cartland novel (in fact, the quirky, outspoken and pink-wearing author, played with vivacity by Jacqueline Grandt, makes an appearance!). Unlike a Cartland romance novel, there is no guaranteed happy ending. The show opener, “Underestimated,” introduces Diana (Kate McQuillan), a humble nursery teacher’s assistant swept up in a tide of fantasy as she becomes engaged to Prince Charles (Jack Saunders). Immediately—Snap! Click!—the paparazzi descend upon her like vultures, twirling in circles around her to dizzying effect. Charles is an oily cad, and he tries to balance his duty (i.e., his marriage) with his ongoing affair with his true love, Camilla Parker Bowles (Colette Todd). Queen Elizabeth (Grandt), sagacious and apathetic, reminds her son that romance among royals is complicated, and she melts into the cynical and heartbreaking song, “Whatever Love Means Anyway.”
Princess Diana is a woman scorned by her husband and abused by the media who finds the strength to carry on and forge her own path. McQuillan bears an uncanny resemblance to Diana in large part because of the expertly crafted wigs designed by Kevin Barthel and costumes by Patty Halajian, which accurately recreate the Princess’ signature chic. After overcoming mental-health issues, Diana finds a lover of her own, James Hewitt (Dan Gold), first seen in a dream sequence as an Adonis, shirtless and descending a staircase, flanked on both sides by a phalanx of long-legged dancing vixens. Diana sings passionately that she is more than just a “Pretty, Pretty Girl” before throwing herself headfirst into public service. In a touching scene where she visits a ward for people with HIV/AIDS, she vows there will be no more “Secrets and Lies” as she uses the media to fight against the stigma associated with the virus. While the play paints Diana in a saintly light, it acknowledges that she, too, was an adept player in a political game.
Dance choreography by Didier is especially effective in the intimate cabaret setup. Tuxedo-clad servants bound into the audience. Trenchcoated paparazzi grasp at the edges of tables in the front row. Diana shows off the latest form-fitting couture while performing in a jazz-inspired pas de deux. Each member of the ensemble gets a moment to shine, and despite the focus on Diana, direction by Didier and Anzevino makes it feel like a true ensemble-driven production.
Whether you’re an anglophile, a fan of Princess Diana, or just like a good musical, “Diana” will not disappoint. Music by David Bryan is reminiscent of pop music hits, and the book by Joe DiPietro includes plenty of inside references for those familiar with the story. Is being the princess the worst job in England? Head over to Theo Ubique to find out.
“Diana” runs through July 6 at Theo Ubique Cabaret Theatre, 721 Howard Street, Evanston. Tickets are $30-$60, available at theo-u.com.
