Name: Diana: The Musical
Genre: History, Romance, Drama
Released: 2021-10-01T00:00:00+00:00
Cast: Jeanna De Waal, Roe Hartrampf, Erin Davie, Judy Kaye, Zach Adkins

The shards of glass scattering across the floor after Diana’s desperate outburst in “Simply Breathe” are the most visceral moment in Diana: The Musical, a film that otherwise struggles to find its footing between the stage and the screen. Directed by Christopher Ashley, this Netflix adaptation of the Broadway musical about Princess Diana is a well-intentioned but ultimately flat retelling of her life, failing to translate the energy and intimacy of theater to cinema.

The film follows Diana’s journey from a young woman thrust into the royal spotlight to her struggles with media scrutiny, marital strife, and personal growth. Jeanna De Waal leads as Diana, delivering a performance that captures the princess’s vulnerability but often feels constrained by the musical’s broad strokes. Roe Hartrampf as Prince Charles and Erin Davie as Camilla Parker Bowles provide solid support, but their characters are reduced to one-dimensional foils for Diana’s story.

The central conflict of the film revolves around Diana’s struggle to find her place within the rigid confines of royal life. The musical numbers serve as emotional touchstones, highlighting her internal turmoil and public persona. De Waal shines in moments like “Simply Breathe,” where the raw emotion of Diana’s breakdown is palpable. The camera lingers on her tear-streaked face, capturing the desperation and pain that underscores her character. This scene is a rare instance where the film transcends its theatrical roots, offering a glimpse into the depth of Diana’s suffering.

However, these highs are tempered by a lack of depth in the storytelling. The film rushes through key moments in Diana’s life, leaving little room for nuance or exploration of her complexities. For example, the birth of her sons William and Harry is glossed over, reducing what should be pivotal emotional beats to mere plot points. The narrative often feels rushed, as if the filmmakers were more concerned with hitting the major milestones of Diana’s life than delving into the intricacies of her relationships and personal growth.

The adaptation also suffers from its transition from stage to screen. The limited sets and reliance on musical numbers can feel stilted when compared to the fluidity of traditional filmmaking. While some shots are well-composed, such as the intimate close-ups during emotional ballads, others feel static and stage-bound. The pacing is uneven, with some scenes feeling rushed while others linger too long. This inconsistency makes it difficult to maintain emotional investment in the story.

The score, composed by David Bryan with lyrics by Joe DiPietro, is a mix of catchy tunes and powerful ballads. However, the music often feels disconnected from the narrative, serving more as a distraction than an enhancement. The songs occasionally pull the story off track, making it difficult to maintain emotional investment. For instance, “This Is How Your People Dance” attempts to inject some energy into the film with its punk-rock vibe, but it ultimately feels out of place within the otherwise traditional musical structure.

One of the film’s strengths is its exploration of Diana’s relationship with the media. The song “Snap, Click” effectively captures the intrusive nature of tabloid journalism and its impact on Diana’s mental health. This theme is particularly relevant in today’s digital age, where celebrity culture and media scrutiny have only intensified. However, the film fails to fully capitalize on this angle, often reducing the media to a vague antagonist rather than exploring the complex dynamics at play.

In terms of performances, De Waal carries the weight of the film on her shoulders, and while she does so admirably, the material often lets her down. Her portrayal of Diana is heartfelt, but the script’s tendency to simplify her character’s motivations and emotions limits her ability to deliver a truly nuanced performance. Hartrampf and Davie provide capable support, but their characters are underdeveloped, leaving little room for them to make a significant impact.

The film also struggles with its tone, oscillating between melodrama and historical biography. This inconsistency makes it difficult to pin down the intended audience. Fans of musical theater may appreciate the familiar structure and catchy tunes, while those looking for a more grounded exploration of Diana’s life may find the film too superficial. The genre fit is further complicated by the film’s attempt to blend history, romance, and drama into a cohesive narrative. While these elements are present, they often feel disjointed, as if the film is trying to be too many things at once.

Despite its flaws, Diana: The Musical has moments of genuine emotion and strong performances that keep it from being a complete misfire. The film’s exploration of Diana’s struggle for autonomy within the constraints of royal life is compelling, and De Waal’s performance adds a layer of authenticity to the story. However, the rushed pacing, underdeveloped characters, and disconnected musical numbers ultimately hold the film back from achieving its full potential.

In the end, Diana: The Musical is a well-meaning but flawed adaptation that fails to capture the essence of Diana’s life in a compelling way. While it has its moments, the film ultimately falls short of delivering a satisfying cinematic experience.