Longacre Theater (Manhattan, NY)

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      Tom Stoppard’s ‘Leopoldstadt’ Will Open on Broadway This Fall

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      The play, about a Jewish family in Vienna in the first half of the 20th Century, will begin previews Sept. 14 and open Oct. 2 at the Longacre Theater.“Leopoldstadt,” Tom Stoppard’s much-heralded and uncharacteristically personal play about an early-20th-century Jewish family in Vienna, is coming to Broadway in September, bringing an unusually large cast and a pointed reminder of the perils of antisemitism to the New York stage.Stoppard, 84, is one of the great dramatists of recent decades; his four best play Tony Awards, for “Rosencrantz and Guildenstern Are Dead,” “Travesties,” “The Real Thing” and “The Coast of Utopia,” are the most of any playwright in Tonys history. “Leopoldstadt” will be the 19th production of a Stoppard play on Broadway since 1967.“Leopoldstadt,” which begins in 1899 and continues through, and past, the two World Wars, chronicles 50 years in the life of one family. It is inspired by, but does not depict, Stoppard’s own family history; he was born in Czechoslovakia in 1937, but fled to Asia with his family when he was a toddler, has spent much of his life in Britain, and only learned some details of his heritage in the 1990s.“It’s two extraordinary hours where you go through this time and this exploration of a family: what they have to face, and how they come out the other side and deal with their past, cope with their present and think about their future,” said Sonia Friedman, a lead producer. “Being Stoppard it’s complex, but also incredibly emotional.”The Broadway production, with a cast of 38, is scheduled to begin previews Sept. 14 and to open Oct. 2 at the Longacre Theater. Friedman, who produced the Tony-winning best plays of the last three seasons before the pandemic, is producing “Leopoldstadt” with Roy Furman, another Broadway veteran, and Lorne Michaels, the “Saturday Night Live” creator.“Leopoldstadt” began its life with a production in London’s West End in 2020 directed by Patrick Marber, which won praise from the New York Times critic Ben Brantley; that run, which was cut short by the coronavirus pandemic, won the Olivier Award for best new play. The play then returned to the West End last year for a brief but profitable run.In New York it is again being directed by Marber, who also directed the last Broadway production of a Stoppard work, a 2018 revival of “Travesties.” In a phone interview, Marber said that he was looking forward to a third go at the material, following the London runs.“It’s a surprisingly enjoyable play to direct — even though it’s very painful and sad, it’s also full of lightness and laughter,” he said. “It’s fundamentally about memory, and time and love. But it’s also about fascism and immigrants and refugees. It’s about everything — it’s Stoppard.”Marber said that Stoppard has continued revising the play for New York, where he said he expects the play to resonate differently because of the ongoing war in Ukraine. “With any play, what’s happening in the real world affects the way you watch it,” he said. “Different things will pop out.” More

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      ‘Macbeth’ Review: Something Wonky This Way Comes

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      Daniel Craig and Ruth Negga star in Sam Gold’s oddly uneasy take on the Scottish play.Macbeth, the character, is full of compunction, as well he should be, having murdered a king to get to his throne.But why should “Macbeth,” the play, be just as uneasy about its authority? Despite the star power of Daniel Craig and Ruth Negga, the overthought production that opened on Thursday at the Longacre Theater seems unsure of its welcome, as if a classic that has enjoyed nearly 50 Broadway revivals since 1768 might no longer find an audience willing to meet it halfway.I could understand that attitude if we were talking about the utterly unlovable “Troilus and Cressida.” But “Macbeth” is the most instantly accessible of Shakespeare’s tragedies: violent, elemental, familiar, short. No matter which way the story is bent, it maintains its recognizable human core of ambition and regret. Directors can emphasize its witchy aura, its bloodthirsty politics, its marital drama or critique of masculinity without endangering its essential stageworthiness.But this relentlessly analytical production, directed by Sam Gold, takes even that last quality apart, offering not so much “Macbeth” as a private inquest into it. To signal that, as the audience enters, it begins with the curtain half up, only timidly exposing the play to view. On a nearly empty black stage, the cast of 14 is milling about in what look like street clothes, seeming to make food at a communal table as if this were dinner theater, or not theater at all.Gold then softens the transition from real life to drama by having Michael Patrick Thornton, who otherwise plays Lennox and one of the assassins, deliver an amusingly potted prologue like a Catskills tummler. His largely improvised spiel explains the play’s origins in a time of plague — around 1605 — and under the influence of King James’s obsession with the supernatural.Revisiting the Tragedy of ‘Macbeth’Shakespeare’s tale of a man who, step by step, cedes his soul to his darkest impulses continues to inspire new interpretations. On Stage: Daniel Craig and Ruth Negga star in Sam Gold’s take on the play. Despite its star power, the production feels oddly uneasy, our critic writes. Onscreen: In the “Tragedy of Macbeth,” Denzel Washington and Frances McDormand embody a toxic power couple with mastery. Break a Leg: Shakespeare’s play is known for the rituals and superstitions tied to it. How does the supernatural retain its hold on the theater world? Beyond ‘Macbeth’: This spring, there’s an abundance of Shakespearean productions in New York City. Here is a look at some of them. Good information. How did generations of theatergoers get along without it?Craig, center, with Negga, left, and, sliding out from underneath the table, the ghost of Banquo (played by Amber Gray).Sara Krulwich/The New York TimesIf you’ve seen enough of Gold’s Shakespeare — whether excellent (“Othello” at New York Theater Workshop, starring Craig and David Oyelowo) or inexplicable (“King Lear” on Broadway, starring Glenda Jackson) or in between (“Hamlet” at the Public Theater, starring Oscar Isaac) — you’ll know that he does not make idle or showy choices. His experimentation is always purposeful, even if, as here, it’s sometimes hard to know what that purpose is. For at least the first half-hour of “Macbeth” I thought he was trying to demystify the play by placing it in more familiar contexts.That kitchen, for instance. Or the scenes set in what looks like someone’s TV room. (The “thrones” in Christine Jones’s set are raspberry-upholstered chair-and-a-halfs.) At other times it seems we’re at a high-school pep rally; when Scotland’s mortal enemy, Norway, is mentioned, Gold has the cast mutter “Boo!” as if at an opposing basketball team.I’m not sure the play benefits from demystifying, though. Macbeth is no ordinary man, nor Lady Macbeth an ordinary woman. Their ambition and regret are extreme, and both alter extremely during the action. At first, when the witches tell Macbeth he will one day rule Scotland, he is horrified by the thought of what that means for the people in his way. But his wife is electrified; with her courage making up for his qualms, he kills Duncan (Paul Lazar) and takes the crown.That’s supposed to be the end of it but of course is not. As logic and a developing taste for blood demand, Macbeth now kills his comrade Banquo (Amber Gray). Though he goes mad with guilt, seeing ghosts over dinner and retribution in dreams, he nevertheless massacres the family of the suspicious Macduff (Grantham Coleman). It’s the macho Lady Macbeth who eventually quails and collapses; sucking renewed manliness from her death, Macbeth all but dares the world to incite his own.Negga, left, with Gray in the play. Like a feral cat, Negga can seem quicksilver and weightless or menacing and bristly, our critic writes.Sara Krulwich/The New York TimesCraig, and especially Negga, hit these marks clearly. We see how their characters’ chemistry and symbiosis allow each to fill the gaps of the other, at first for their mutual gain and then to their detriment. Craig is at his best in physicalizing Macbeth’s transitions; you can see in his bearing the effects of flattery and finery on his balloon personality. Had it not been inflated it would never have burst.Negga, unrecognizable both emotionally and bodily as the actor who played Hamlet at St. Ann’s Warehouse in 2020, is wonderfully physical, too; like a feral cat, she can seem quicksilver and weightless or, when enraged, menacing and bristly and twice her size. (The superb costumes by Suttirat Larlarb contribute to the effect, nearly telling the story on their own.) But Negga is also extraordinary with the verse, one of the few cast members who not only makes its meaning clear but also projects that meaning past the conceptual firewall Gold has erected.Though the production too often feels as if it were designed for the company’s own edification — an endless rehearsal rather than a Broadway revival — it is not without its outward-facing qualities, especially after the initial throat-clearing. There are beautiful, quietly observed moments: a glance between Craig and Negga, for instance, that says more about marriage than some entire plays on the subject. There are smaller characters crystallized in a flash: Lazar’s Duncan dainty and handsy, Maria Dizzia’s Lady Macduff heartbreakingly resolute.But the top note here is gore, the more so because most other notes are muted. We see slit throats, amputated legs, huge spouts of blood and, for good measure, a gun. Even that cozy food table from the start of the show turns out to be the witches’ workshop, where they brew their disgusting potions — some involving human body parts pulverized as if by Julia Child with an industrial stick blender.Craig, our critic writes, is at his best in physicalizing Macbeth’s transitions; you can see in his bearing the effects of flattery. Sara Krulwich/The New York TimesAll this is accompanied by effects that put yet another demystifying frame on the action, this one not from life or theater but from movies. The fog at the Longacre is thicker than in “Casablanca.” The foreboding aural effects (sound design by Mikaal Sulaiman) recall slasher flicks; the screeching violins (music by Gaelynn Lea) more specifically reference Bernard Herrmann’s score for “Psycho.”Perhaps to help us, or the cast, come down from all this, Gold concludes the show by having Bobbi MacKenzie, who otherwise plays a witch, sing a song by Lea called “Perfect” as the company slurps at what I hope to God is soup. The moment is lovely and would be fitting if this were, say, the finale of “Pippin.”Still, at the end of an often brutal Broadway season that was rightly concerned with harm and heartlessness — in which many shows, including this one, were bedeviled by illness and delays — I liked Gold’s showing us that in times of distress and violence people should remember to care for one another. If it has nothing to do with “Macbeth,” it has plenty to do with us.MacbethThrough July 10 at the Longacre Theater, Manhattan; macbethbroadway.com. Running time: 2 hours 20 minutes. More

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      ‘Diana, the Musical’ to End Broadway Run on Dec. 19

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      The royal musical had a bumpy road to Broadway, from a delay caused by the pandemic to a filmed version of the show on Netflix that was widely panned.After surviving the pandemic, which forced its closure after nine preview performances, and a widely panned filmed version for Netflix, “Diana, the Musical” announced on Friday that it would end its Broadway run on Dec. 19. It originally had an open run.“We are extraordinarily proud of the ‘Diana’ company and of the show onstage at the Longacre,” the producers, Beth Williams of Grove Entertainment, Frank Marshall and the Araca Group, said on Friday in a joint statement. “Our heartfelt thanks go out to the cast, crew and everyone involved in creating the show. And to the audiences who have shown their love and support at every performance.”The show, which is about the ill-fated marriage of the Princess of Wales to Prince Charles, began previews on Nov. 2 at the Longacre Theater, and opened on Nov. 17. At the time of its closing, it will have played 33 performances and 16 previews.The reviews for the musical were mostly negative. In his review for The New York Times, Jesse Green wrote, “If you care about Diana as a human being, or dignity as a concept, you will find this treatment of her life both aesthetically and morally mortifying.”The show, which had a pre-Broadway production at La Jolla Playhouse, featured Jeanna de Waal in the title role and Roe Hartrampf as Prince Charles. It was directed by Christopher Ashley, choreographed by Kelly Devine, and written by Joe DiPietro and David Bryan (the Bon Jovi keyboardist), who created the Tony Award-winning musical “Memphis.” More

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      ‘Diana, the Musical’ Review: Exploiting the People’s Princess

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      The tabloid press and the monarchy used the Princess of Wales for their own purposes, and now a new Broadway show does the same.“Was there ever a greater tabloid tale?”Sung by a pack of slithering paparazzi amid an explosion of flashbulbs, so begins “Diana, the Musical,” which seems to exist to answer the question. Digging deep into the celebrity-bio-musical barrel, there to squabble for pre-eminence with pop divas and Jersey boys, it may well win the prize as the tawdriest and least excusable wholesaling of a supposedly true story ever to belt its way to Broadway.I doubt that was the intention behind the show, which opened on Wednesday at the Longacre Theater after somehow surviving two disasters: the pandemic, which knocked it down in March 2020; and a filmed version for Netflix (“the year’s most hysterically awful hate-watch,” wrote The Guardian) that did much the same thing earlier this fall. Still, it’s worth asking, as the poor woman’s corpse is forced to rise again, what its authors could possibly have been thinking.The cynical answer, as always, is money. The Princess of Wales, in her short life and long death, has been dragooned into any number of commercial entertainments, including memoirs by her household staff, thinly sourced biographies, a multiseason story line on “The Crown” and, most recently, the movie “Spencer.” Whether middlebrow or low, these works reshape Diana to their own needs, borrowing her familiar, eventful yet unknowable story to sell mere gossip as relatable real-life tragedy.But at least none of those involved any of the following, as “Diana” counterfactually does: the title character getting jiggy with Mstislav Rostropovich to an electrified version of Bach’s first cello suite; Barbara Cartland, the romance novelist, lasciviously pawing Diana’s lover James Hewitt as he arrives half-naked on a horse; a man with AIDS consenting to have his photo taken with the princess by singing, “I may be unwell, but I’m handsome as hell”; and a sort of boxing match between the rivals for Prince Charles’s affections set to the words: “It’s the thrilla in Manila but with Diana and Camilla!”I wish propriety would allow me to tell you as well about the song in which Diana and her butler, Paul Burrell, choose the low-cut, off-the-shoulder “revenge” dress she wears in response to Charles’s 1994 interview blaming the failure of their marriage on her. Only for turning a common vulgarity into an uncommon one could the number be regarded as clever.Yet these are merely the most extractable of the horrors that “Diana,” as directed by Christopher Ashley, has on display. The real problem is intrinsic, arising from the choice to tell the story in song at all. Musicals, like laws, are often compared to sausages: You don’t want to know what goes into them. In this case, you don’t want to know what comes out, either; if you care about Diana as a human being, or dignity as a concept, you will find this treatment of her life both aesthetically and morally mortifying.Granted, the authors did not make it easy on themselves. In choosing to cover the entire arc of her fame — from 1980 to ’96, with an epilogue about her death tacked on — they probably doomed themselves to the narrative scrawniness that makes the show so twitchy. (“Spencer” limits itself to three days in 1991.) Roughly, and I do mean roughly, Joe DiPietro’s book touches on Diana’s rise from meek kindergarten helper to surprise candidate for what one song calls “the worst job in England,” to fairy-tale bride, to scorned wife, to doting mother, to England’s favorite royal, to unfaithful wretch, to carousing divorcée, to martyrdom and points beyond.De Waal, who sings in most of the musical’s numbers.Sara Krulwich/The New York TimesOnce you add songs into the mix — and Diana (Jeanna de Waal) sings in 17 of them — there’s no time for coherence, let alone subtlety. De Waal is left to embody each new incarnation of the character as quickly and superficially as she swaps William Ivey Long’s trick costumes, which could tell the story better on their own. They are, at any rate, wittier and sparklier than the score; with music by David Bryan of Bon Jovi, and lyrics by Bryan and DiPietro, the songs are cold and crass — and so, not surprisingly, their Diana is, too.This is not just a matter of de Waal’s bravura yet resolutely unthrilling performance, but also of the framing. In her introductory number, looking back on her life from some point presumably after the divorce but before her death, Diana suggests that it was tactically valuable to be “underestimated” — a word that doesn’t scan as a lyric no matter how mercilessly the songwriters flog it. It doesn’t scan as an idea either; rather, it sets up Diana as a kind of English Evita, a schemer who triumphed, which is bizarre on both counts.Indeed, there is something seriously wrong with a Diana story whose most believable and sympathetic character is Camilla Parker Bowles. But other than the degrading “thrilla” scene, Camilla is mercifully underwritten, allowing Erin Davie room to find something human in her that the real Camilla never could.Roe Hartrampf as Prince Charles and Erin Davie as Camilla Parker Bowles, who comes off as the most believable and sympathetic character in the musical.Sara Krulwich/The New York TimesThe other two central players have no such room. Roe Hartrampf’s Charles is basically a Prince of Wails, complaining bitterly and at the top of his voice for the entire show; Judy Kaye’s already one-note battleship of a performance as Queen Elizabeth II is further undercut by her popping up occasionally as Cartland — Diana’s step-grandmother — for supposed comic relief.Choices like these suggest that the authors simply did not know what tone to take and so took every one they could think of. Wanting us to engage with the story seriously, they nevertheless ham it up with randy grannies and cheesy catfights. Seeking to cover 16 years in little more than two hours, they condense or flat-out fictionalize with a wink. In this context, it counts as a kind of discretion that the portrait of Burrell as a trusted confidant (and dress wrangler) neglects to mention that he was later prosecuted for stealing from the princess’s estate — a case hastily dropped after the Queen interceded — and, for an encore, wrote a tacky best-selling memoir.Ashley’s staging follows suit, going for grandeur but, in its haste, reaching only the clamminess of farce. (The chilly sets are by David Zinn.) And in Kelly Devine’s bizarrely noncontextual choreography, the ensemble — whether representing palace flunkies, Knightsbridge snobs or worshipful Dianaphiles — performs the same frenzied gymnastics.Musicals are difficult and expensive. No one says they have to be serious, too. “The Cher Show” and “Jersey Boys,” among many others, would have been much better with less drummed-up significance. Nor will an insufficiency of craft and proportion necessarily sully a modest, invented tale like the one told in “Memphis,” the 2010 Tony Award winner from the “Diana” creative team.But if you decide to write a musical about a real woman, known worldwide, who died tragically while still a young mother, something more rigorous is demanded. “Diana,” though, is lazy and thus neither entertaining nor insightful; though audiences talk back to it at will, it’s not even campy fun. It’s just exploitative, doing to the Princess of Wales pretty much what the tabloid press — let alone the monarchy — did to her in the first place.Diana, the MusicalAt the Longacre Theater, Manhattan; thedianamusical.com. Running time: 2 hours 30 minutes. More

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      Jeanna de Waal Has Already Forgotten About That ‘Diana’ Film

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      The British actor Jeanna de Waal is obviously not the first person to play the part of Diana, Princess of Wales, or even the first person to do it this year. “When we started, it was a lot less populated, the pool of people who played her,” said de Waal, who stars as the title character in “Diana, the Musical,” which opens on Wednesday after a long pandemic delay.She is not disconcerted by the Diana-Industrial Complex. “I watch them all, and I can see what they’re doing,” she continued, speaking of the other Dianas in circulation — currently, Emma Corrin in “The Crown” and Kristen Stewart in “Spencer” (there’s also Diana herself, who appears in the CNN documentary series “Diana”). “What I mean is, we all got the same homework, and we all have the same sources, but we all do it differently,” de Waal said. “There are two million ways you could tell her story.”“Diana, the Musical” tells it in song. The tale of Diana’s ill-fated marriage to Prince Charles, the heir to the British throne, the production is a frothy, peppy, archly exuberant trip through the familiar byways of this tragic royal relationship, from the couple’s blundering courtship to the recrimination-filled conclusion of their marriage. (There’s a sad coda at the end, foreshadowing Diana’s doomed future.)Roe Hartrampf, center left, as Prince Charles and Jeanna de Waal as Diana in the musical, which is in previews at the Longacre Theater.Sara Krulwich/The New York TimesIt’s been a long road to Broadway, and de Waal has been there for all of it, since the production’s first workshop, at Vassar College, in Poughkeepsie, N.Y., back in 2017. The musical opened at La Jolla Playhouse in 2019, moved to Broadway the following year, and shut down after nine previews in March 2020. The set was locked up at the Longacre Theater; the cast and crew scattered.In person, de Waal, 33, doesn’t immediately evoke Diana. For one thing, she dyed her dirty-blond hair dark during lockdown, and has kept it that way since. (She wears a series of increasingly dramatic Diana wigs for the show.) She is also forthright and un-self-conscious in a way that Diana, who always seemed brittle beneath the glitter, never was.De Waal is onstage for almost the whole musical, portraying a sheltered, unworldly young woman whose hidden gifts — charisma, sex appeal, a knack for publicity, an extraordinary common touch — turn her into a global celebrity and a stealth influencer. “Sometimes, though, it’s best,” she sings, “to be underestimated.”“What we have now is a much more juicy and titillating story of what this marriage was,” de Waal said.Josefina Santos for The New York TimesIn taking on the part, de Waal has had to contend not just with all the other dramatic Dianas, but also with legions of opinionated Diana fans who bring their own preconceptions to new depictions of her. Then there is the problem of lowered expectations. In October, a version of the musical, filmed in an empty theater late last year, was released on Netflix. The response, to put it mildly, was very bad.The New York Post called it “the flop of the year.” The Guardian gave it one star and said it was “a Rocky Horror Picture Show of cluelessness and misjudged Judy Garlandification.”On Twitter, mesmerized viewers seemed to be hate-watching the show as they would a terrible camp classic. “I’m so sorry but the Diana musical might be the best worst musical ever written,” one viewer tweeted.The good-natured de Waal responds to questions about this awkward situation with what appears to be constitutional equanimity. (“She’s so centered,” is how the musical’s director, Christopher Ashley, put it.) Even as the mean tweets came in, her direct messages were filled with enthusiastic responses from people who loved the musical, she said. In addition, the broadcast got people talking, she said, and put the production on lists of shows to watch on Broadway.“Look, we didn’t film this for Netflix because we thought it was bad,” she said. “We thought it was fantastic.”Ashley said in an interview that the production had made numerous changes since filming the Netflix special. The theater’s emptiness — the lack of laughter, of applause, of an audience’s ineffable energy — drained the production of its high-octane metabolism, he said. “Having an audience changes what it feels like.” From left, de Waal, Hartrampf and Erin Davie (as Camilla Parker Bowles) in what de Waal calls, “the story of a woman’s revenge.” Sara Krulwich/The New York TimesEarly Broadway audiences appear not to have heard, or not to care, about the unfortunate publicity. At a preview the other night, the theater was filled with Diana-philes eager to bask once more in a story they know so well. They wore “Diana” face masks; they applauded the cunningly staged, lightning-quick royal costume changes; they queued to buy mugs, hoodies and other merchandise. There was applause for iconic outfits; gasps at the appearance of the princess’s love rival, Camilla Parker Bowles; and a standing ovation at the end. In the line for the bathroom, women debated the relative evilness of Charles and Camilla.The producers always promised that the show would make it to Broadway after the pandemic. But they had no idea what that would entail. “I remember the phrase ‘flattening the curve,’” Ashley said, referring to the city’s coronavirus lockdown. “We thought it would be for a few weeks. The possibility that it would be 600 days before we were back in production on Broadway — that was something we didn’t plan for.”As the days without pay stretched on, the cast and crew had to find other sources of income. For de Waal, that came from running Broadway Weekends at Home, a remote version of the musical theater camp that she founded with her sister, Dani, a former actor who works for Google. Hundreds of people signed up during the pandemic, paying a subscription fee to be taught by Broadway and West End performers.Born in Germany and raised in England, De Waal was always obsessed with musical theater. “I became a fanatic,” she said. “For birthdays and Christmases, I would ask for CDs of original cast recordings.” After earning a degree at the Liverpool Institute for Performing Arts, she got a job in the ensemble of, and as an understudy in, “We Will Rock You” on the West End. “It was a baptism of fire,” she said. “I had never done any mic technique work. You know that old thing where singers just sang really loud? You don’t need to do that with a mic. I bought a microphone, and I practiced at home.”In the late aughts, she moved to New York. “I had no agent, no job, and I started doing Times Square open calls,” she said. “I knew no one, and I felt very grown-up and free.” But soon the work was rolling in: parts in “American Idiot,” “Carrie,” the “Wicked” national tour, “Finding Neverland,” “Waitress” and “Kinky Boots,” to name a few.She had a steady string of gigs until her late 20s, when the parts began to dry up. She worked as a caterer and kept going to auditions. She was one of the first people to read for the part of Diana in the workshop; she was hired virtually on the spot.De Waal was one of the first people to read for the part of Diana, and she was hired virtually on the spot.Josefina Santos for The New York Times“Jeanna has been an extraordinary partner in the process,” Ashley said. “She’s really used these couple of years to deepen her feelings about Diana, to make individual moments more and more specific in terms of the emotion of the scene. Even how she holds herself and her mannerisms have gotten more layered.”Back in New York, mid-pandemic, the long, strange delay gave the production the incidental gift of time.“New musicals can make use of the wealth of response you get from that preview period,” Ashley said. “How are the audiences responding? Where do they get quiet? Where do they get restless?” Two new songs were added; changes were made to dozens of pages of the script and lyrics.The story also shifted. Originally it focused on Diana’s disillusionment at the shattering of her happily-ever-after childhood dream. Now it is a sharper, spicier tale about a love triangle that sabotages a marriage. As Diana once said, referring to Camilla: “There were three of us in this marriage, so it was a bit crowded.”“What we have now is a much more juicy and titillating story of what this marriage was, with Charles and Camilla orchestrating the whole thing and continuing to see each other,” de Waal said. “It’s also the story of a woman’s revenge.”De Waal was just a child when her father came into her room one morning in late August 1997 and told her that Diana had been in a serious (and ultimately fatal) car accident. But in studying her for the part, de Waal has come to love and admire the princess — the way she tried to make something of her life, the way she made a difference.“Every single aspect of this show has come from a place of wanting to celebrate this person,” de Waal said. “She did a hell of a lot more than most people. Who knows where her life would have gone?” More

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      ‘Diana’ Musical Sets Netflix Run — and Broadway Opening Night

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      In an unprecedented move, a recording of the show will start streaming in October, while audiences can see it live (if theaters reopen) in December.“Diana,” a new musical about the idolized but ill-fated British princess, managed to get through nine preview performances before Broadway shut down last March.Now, one year, one pandemic, and one Oprah interview later, the show is ready to try again, with a new strategy and a new context.In a first for a Broadway show, a filmed version of the stage production will start streaming before the musical opens. “Diana,” which was shot over a week last September in an audience-less Longacre Theater, will begin streaming on Netflix on Oct. 1, and then two months later, on Dec. 1, will resume previews on Broadway.The musical’s producers announced Tuesday that they intend to open Dec. 16, which is 625 days after its originally scheduled, but pandemic-postponed, opening night. The producers are putting their Broadway tickets on sale now, and counting on the Netflix film, which will have an open-ended run, to boost interest in the stage production.“I think people will see the movie and will say, that’s a show I want to see in person,” said Frank Marshall, a prominent filmmaker who is one of the musical’s lead producers. Another lead producer, the Broadway veteran Beth Williams, acknowledged that the plan involves “a slightly more complicated rollout,” but added “we feel like it’s an incredible opportunity to put ‘Diana’ in front of the global Netflix audience, and then give them an opportunity to see it live.”Broadway, of course, remains closed in an effort to contain the spread of the coronavirus, and producers expect that most full-scale plays and musicals won’t attempt to start performances until after Labor Day. “Diana,” which chronicles the life and death of the Princess of Wales, who was the first wife of Prince Charles, is among the first shows to put tickets on sale and to choose a specific date for a target opening.The scheduling, Marshall said, was a matter of trying to anticipate how the country’s post-pandemic reopening will unfold, and trying to coordinate the two projects to strengthen them both. “We wanted to make sure our marketing plans aligned,” he said. “I’m very optimistic about the fall, for both movies and for Broadway.” (A spokesman for the show declined to say how much Netflix paid for the streaming rights.)The musical, featuring Jeanna de Waal in the title role, is directed by Christopher Ashley and choreographed by Kelly Devine, who previously collaborated on “Come From Away”; it was written by Joe DiPietro and David Bryan (the Bon Jovi keyboardist), who created the Tony Award-winning “Memphis.”Through virtual and in-person work, the show, which had a pre-Broadway production at La Jolla Playhouse, was revised early in the pandemic. The producers said they do not expect further revisions, and expect their cast to remain intact.Diana has remained an object of public fascination in the years since her death in a 1997 car crash. But her story also has a contemporary sequel, as her younger son, Harry, and his wife, Meghan, stepped away from their royal duties, and, in an interview this month with Oprah Winfrey, he said that “my biggest concern was history repeating itself.”The lives of Diana’s children are not the subject of the new show. “You see Diana become a mother, but her children are not in the musical,” Williams said. “We’re telling the story of a complicated marriage, and at the same time we’re telling a coming-of-age story, and we’ve always seen it as a celebration of Princess Diana, whose legacy will live forever.”The producers said they don’t yet know what sort of safety protocols might be required for cast, crew, or ticket holders at the in-person production. Will there even be an opening night party? “There will be a celebration,” Williams said. “It’s too soon to know what that will look like.” More