
Jeanna De Waal
Diana

“Celebrate a life unlike any other”
A princess is thrust onto the world stage. The tabloid media is captivated by her beauty and vulnerability. The globe's most celebrated monarchy is disrupted. This is the story of the most princess woman of the modern age as she struggles to endure a spotlight brighter than any the world had ever known.
I’ll admit it: I went in expecting a train wreck. A musical about Princess Diana—her bulimia, her marital betrayal, her tabloid crucifixion—set to Broadway belters and choreographed jazz hands? It sounded like the kind of idea that gets greenlit at 3 a.m. after too many martinis.
And yet, within minutes of Diana: The Musical, I found myself leaning forward, not in horror, but in something closer to horrified fascination. This isn’t a bad musical. It’s a wrong one.
A wrongness so profound it loops back around to being weirdly compelling, like watching a car crash in slow motion—if the car were a gilded carriage and the crash were set to a power ballad.

The first misstep is the tone. The show wants to have it both ways: to be a respectful biopic and a campy spectacle. It opens with Diana (Jeanna De Waal) as a wide-eyed 19-year-old, singing about her “first crush” on Prince Charles while the ensemble—dressed in pastel blazers and pearls—harmonizes like a royal barbershop quartet.
The effect is less The Crown and more Heathers meets Downton Abbey. When Charles (Roe Hartrampf) croons, “I need a wife who’s strong, who’s bred to serve, who’ll give me sons,” it’s delivered with the same earnestness as a Disney villain’s “I Want” song. The problem isn’t that it’s ridiculous—it’s that the show seems blissfully unaware of how ridiculous it is.
Take the bulimia plotline. In The Crown, Diana’s eating disorder is handled with a quiet, devastating restraint. Here, it’s staged as a full-blown musical number.
Diana, alone in her palace bathroom, belts “This Won’t Appear on the Front Page” while the ensemble—now dressed as paparazzi—dance around her with cameras, snapping invisible photos. The lyrics? “I’ll make my body disappear / Like a ghost in the mirror.” It’s not subtle. It’s not even good.
But it’s so audacious in its badness that I couldn’t look away. (Later, when Diana self-harms in a bathtub, the show cuts to a literal blood-red spotlight. I laughed.
I’m not proud of it.)
The real tonal whiplash comes with Camilla Parker Bowles (Erin Davie), who is introduced in a song called “The Thrilla in Manila (But with Diana and Camilla).” Yes, you read that right. The show leans so hard into the Charles-Camilla-Diana love triangle that it might as well have been written by a tabloid editor on deadline. Camilla isn’t just a rival; she’s a villainess straight out of a 1980s soap opera, complete with a husky voice and a wardrobe of power suits.
"A well-intentioned but tonally awkward musical that struggles to balance camp and sincerity in portraying Diana’s life."
Viewers appreciate the effort to bring Diana’s story to the stage, particularly the standout musical numbers and some strong performances. However, the uneven tone—oscillating between lighthearted camp and heavy emotional moments—leaves many feeling disconnected from the material. The production’s attempt to blend humor with tragedy often falls flat, latestnetflix.com argues, making it hard to fully invest in the narrative.
Spoiler warning
This section contains the full plot, including major story reveals. Overview above stays spoiler-free.
In summer 2020, Christopher Ashley shot Diana: The Musical at the Longacre Theatre with COVID protocols and no audience. Netflix put that capture up on October 1, 2021, weeks before the delayed Broadway opening. Wikipedia and Deadline both treat the empty-house tape as the version that later took five Golden Raspberry Awards, including Worst Picture. latestnetflix.com's view is that it was the first filmed stage performance to land that raspberry.,
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The stage show had already been interrupted. Previews started at the Longacre on March 2, 2020. Opening night was set for March 31. Broadway went dark on March 12. When it finally resumed, previews began November 2, 2021, and opening night was November 17. The New York Times later reported that the week ending December 12 played to 51 percent capacity and grossed $374,000. The production closed December 19 after 33 performances and 16 previews. Deadline, writing up the Razzies, put the Broadway run at those same 33 performances. ,
Before New York, the piece had tried out at La Jolla Playhouse. Previews began February 19, 2019. The world premiere opened March 3. The limited run was extended twice and closed April 14. Ashley directed there too. Kelly Devine choreographed. Joe DiPietro wrote the book and lyrics. David Bryan, Bon Jovi's keyboardist, wrote the music and lyrics with him.
Peter Bradshaw at The Guardian gave the Netflix film one star and called it a royal debacle so bad you might hyperventilate. He compared the strangeness to the Cats movie and wrote that if it were deliberate satire it would be genius, but it is not. Jesse Green in The New York Times, reviewing the Broadway staging, wrote that if you care about Diana as a human being, or dignity as a concept, you would find the treatment "aesthetically and morally mortifying." Variety's Peter Debruge called the streamer version a shallow pop tribute. Rotten Tomatoes later sat at 12 percent of 34 reviews, consensus "Diana done dirty." Metacritic scored 29. , ,
Jeanna de Waal, who had been with the project for about five years, did not fold. On opening night Variety put her and Roe Hartrampf into a white Rolls-Royce outside the Longacre. "I'm intrigued why people think it's great to make a really serious film about her, but really bad to make a light-hearted musical," she said. She added that audiences in tiaras who boo Charles deserve their night as much as anyone who wants to weep at a movie. "I love that our show doesn't take itself seriously. And so you can judge it for being that, if you like." She also said she genuinely thinks Diana would have enjoyed it.
Producer Frank Marshall, speaking outside the theater that night, said it was never meant to be a serious study. "This is one way of telling her story, and we have to face the reality that it was a tabloid story." The first line of the show asks whether there was ever a greater tabloid tale. Judy Kaye played Queen Elizabeth and Barbara Cartland, a double that later won her the Razzie for Worst Supporting Actress. De Waal took Worst Actress. Ashley took Worst Director. The screenplay raspberry went to DiPietro and Bryan. Roe Hartrampf was nominated for Worst Actor and did not win. , ,
The official Netflix trailer is still online, selling a landmark musical event that would debut on the streamer before Broadway. That order is the whole scandal. The world saw the empty-house tape, decided it was a hate-watch, and then Broadway asked people to buy tickets for the same songs. They did not buy enough. On March 26, 2022, the Razzies made the Netflix cut official worst-of-year furniture. William Ivey Long still picked up a Tony nomination for costumes. A clothes horse with a raspberry in its teeth. , ,
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
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