‘DIANA, THE MUSICAL’: Roe Hartrampf & Jeanna de Waal. Photo: Matthew Murphy.

DIANA, THE MUSICAL
Book & lyrics by Joe DiPietro
Music & lyrics by David Bryan
Choreography by Kelly Devine
Music arrangement & supervision by Ian Eisendrath
Directed by Christopher Ashley
Longacre Theatre
220 West 48th Street
(866) 302-0995, https://thedianamusical.com/

By Scott Harrah

By now, many of you have read the vicious reviews this show received from the critics.  It’s as if everyone released all the pent-up venom they had stored for other shows this season (but couldn’t or wouldn’t say a bad word about) and pounced on Diana, The Musical because it was an easy target. Despite all the naysayers, Diana is not as horrific as you may have heard and the musical has at least one element that may make some actually want to see it.

As a “Second Night” critic, this reviewer doesn’t often get the chance to say anything about a Broadway show until the “major” critics who see a production in previews have already given their verdict.  This is one of the few times I must admit some went too far in panning a show.  Is it a great musical?  Of course not.  Is it the worst thing you’ll ever see on Broadway? No.  Let’s start by talking about someone nearly all the critics overlooked: Jeanna de Waal as Princess Diana.  A leading lady is supposed to anchor a show, and that’s exactly what Ms. de Wall does here so well.  She is the only one in the show who truly transcends the material she’s been given and does what any good actor must:  She gives shading and multiple dimensions to Diana, a complicated, deeply troubled woman mired in gossip, myths and misunderstandings.  We see the arc of Diana’s life, starting out as “shy Di,” as the Fleet Street Brits once called her, a 19-year-old Protestant virgin born into nobility, with the title Lady Diana who worked as a kindergarten assistant.  Young Lady Diana Spencer was considered the perfect prospective wife for Prince Charles (Roe Hartrampf), who was already in his 30s at the time and the most eligible bachelor in the world.  As the show progresses, Ms. de Waal displays the transformation from sheepish Lady Di to the adult Princess Di, her frustration as a young wife and mother as Charles carries on an extramarital affair with “the Rottweiler” Camilla Parker Bowles (Erin Davie).  Finally, she evolves (with many changes featuring William Ivey Long’s lavish costumes) as Diana, the “People’s Princess” who emerged from scandal and a very public bad marriage to win everyone’s hearts as a humanitarian. Ms. de Waal’s portrayal of Diana the media sensation is always realistic and sincere, no matter how preposterous the material gets.  Diana’s every move was tabloid fodder and front-page news, from charity work ranging from visiting and actually touching gay men in hospital AIDS wards at the apex of the crisis (something few would do back then) to raising awareness about the dangers of landmines in Africa. She was a princess with a purpose indeed and redefined what royalty should do with their fame and influence.

Remember the dreadful Broadway musical Scandalous back in 2012, written by Kathy Lee Gifford?  Scandalous was a true train wreck—and even worse than Diana because it was pointless, amateurish and dull—but it also had a leading lady that rose above the material: Carolee Carmello, portraying evangelist Aimee Semple McPherson.  Ms. Carmello got a Tony nomination for being brave enough to go onstage each night to give a great performance in a horrible musical.  Diana, The Musical may not last long but Jeanna de Waal should be remembered during next spring’s award season because, like Carolee Carmello, she prevailed.

Now, let’s address the obvious shortcomings of the show.  The story of Princess Diana is a true tragedy, and it might have been done better as an opera or even a pop opera like Evita, but it simply does not work as a musical comedy.  Joe DiPietro’s book is a hot mess of hokey, cringeworthy dialogue and head-scratching narrative choices.  Mr. DiPietro tells the story of Diana with all the basic factual elements of her life, but both his and David’s Bryan’s music and lyrics are beyond absurd.  There’s no need to quote any of the mind-numbingly bad lyrics (every critic has already done that), but one wonders why Mr. DiPietro and Mr. Bryan chose to use so much profanity, automatically giving what should have been a “PG-13” family musical an “R” rating (if Broadway shows were actually rated).  The same four-letter words are used repeatedly to rhyme in a couple songs, as if they are dirty limericks being sung by preteen boys.  Another song, “The Dress,” overuses the “F” bomb in one of the show’s many lame attempts at humor.

Besides Ms. de Waal, one other noteworthy performance is by Erin Davie, who is wonderfully catty as Camilla Parker Bowles (and much prettier than the real Duchess of Cornwall).  The Diana and Camilla verbal catfight in the production number “The Main Event” is sublimely ridiculous.   As for the rest of the cast, the real Prince Charles has more charm than Roe Hartrampf, but Mr. Hartfampf is far better looking than the real-life Prince of Wales ever was.  Most of the performances seem like caricatures of the royals, especially Judy Kaye, doing a dual role of Queen Elizabeth II and pulp romance novelist Barbara Cartland (please, don’t ask).  Tony Award winner Christopher Ashley (Come from Away) directs everyone haphazardly, but even more puzzling is two-time Tony Award nominee Kelly Devine’s ludicrous choreography.  The dance routines are so spastic and over the top that they are both distracting and laughable—especially when set to such a dreadful score and silly songs.  Regardless, Diana, The Musical is never boring and no worse than the 2017 musical Anastasia. The show was filmed for posterity for Netflix during the height of the 2020 pandemic, so even when it closes on Broadway, it already has the potential to be a campy cult classic that fans can enjoy via streaming.

Edited by Scott Harrah
Published November 21, 2021
Reviewed at November 19, 2021 press performance.

‘DIANA, THE MUSICAL’: Jeanna de Waal & cast. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Jeanna de Waal & cast. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Roe Hartrampf, Judy Kaye & Jeanna de Waal & cast. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Jenna de Waal & Roe Hartrampf & cast. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Roe Hartrampf & (on couch) Holly Ann Butler & Jeanna de Waal. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Cast & (center) Roe Hartrampf & Judy Kaye. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Jeanna de Waal. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Jeanna de Waal & Erin Davie. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Jeanna de Waal & Anthony Murphy. Photo: Matthew Murphy.

‘DIANA, THE MUSICAL’: Publicity still from the Netflix film of the Broadway musical. Photo: Matthew Murphy.

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‘ESCAPE TO MARGARITAVILLE’: Paul Alexander Nolan & cast. Photo: Matthew Murphy

ESCAPE TO MARGARITAVILLE
Book by Greg Garcia & Mike O’Malley
Music & lyrics by Jimmy Buffett
Choreography by Kelly Devine
Directed by Christopher Ashley
Marquis Theatre
246 West 44th Street
(877-250-2929), http://escapetomargaritavillemusical.com/

By Scott Harrah

Jukebox musicals usually contain a paper-thin plot because they are simply an excuse to showcase and cash in on a pop star or group’s songbook. Granted, Jimmy Buffett doesn’t have a huge body of work as grand as that of ABBA or the Four Seasons, but he does have a dedicated following and more hit songs than one might think. That must be why Escape to Margaritaville, featuring Mr. Buffett’s songs, has been produced, and with some real pedigree behind it, namely director Christopher Ashley (best known for last year’s brilliant Come From Away). However, as colorful, festive and good-intentioned as this show is, it’s likely something only Parrotheads (as Buffett’s fans are known) will appreciate.

Think Mr. Buffett is only famous for his classic “Margaritaville”? Think again. His other hits include “Come Monday,” “Changes in Latitudes, Changes in Attitudes,” “Cheeseburger in Paradise” (also the name of a chain of restaurants Mr. Buffett owns), “It’s Five O’Clock Somewhere,” “Son of a Son of a Sailor,” and more. From the late 1970s onward, the songs were staples on pop and country music radio.

Greg Garcia and Mike O’Malley’s book is a pedestrian, by-the-numbers story that offers an excuse to weave Mr. Buffett’s songs into a narrative. The story revolves around singer/songwriter Tully (Paul Alexander Nolan), a man living on a Caribbean island and working as the on-site entertainer at a resort called—what else?—Margaritaville, run by sassy owner Marley (Rema Webb). Others at the resort include Tully’s buddy Brick (Eric Petersen), a chubby bartender who is scatterbrained but has a heart of gold.

Up in chilly Cincinnati, Rachel (Alison Luff), a no-nonsense environmental scientist, is preparing to head down to Margaritaville with her best friend Tammy (Lisa Howard), a bubbly overweight woman engaged to a guy who is both an overbearing slob and hypercritical of her. They are both ready to have a fun bachelorette week in the sun, and of course what happens next is totally predictable. Tammy meets Brick and Rachel meets Tully, and the sparks and clichés fly.

Mr. Garcia and Mr. O’Malley’s book is full of bad TV sitcom humor and jokes that are “groaners” indeed, and for good reason. Mr. Garcia is best known for creating the TV comedies “My Name is Earl,” “Yes, Dear” and “Raising Hope.”

Christopher Ashley certainly tries to direct this mess of musical, with the help of colorful costumes by Paul Tazewell, and energetic yet pointless choreography by Kelly Devine. Most of the actors’ performances are sincere and serviceable, but a few stand out. Rema Webb, for instance, is a total delight as the brassy, bossy Margaritaville owner Marley and often steals the show. Lisa Howard and Eric Petersen are lovable in all the right places. However, as the leading man, Tully, Paul Alexander Nolan has a pleasant voice but very little stage presence and zero chemistry with Ms. Luff as Rachel.

One of the show’s only saving graces is the razzle-dazzle finale. Not because it’s anything remarkable, but cast members toss out Margaritaville beach balls to the audience in case anyone wants a souvenir. Escape to Margaritaville could possibly do decent business on the road as a touring show since Mr. Buffet’s fan base is huge in the Midwest and South, but the musical’s time here on Broadway will likely be “wasting away” rather quickly.

Edited by Scott Harrah
Published March 23, 2018
Reviewed at March 22, 2018 press performance.

“ESCAPE TO MARGARITAVILLE’: Alison Luff & Paul Alexander Nolan. Photo: Matthew Murphy

‘ESCAPE TO MARGARITAVILLE’: (left to right) Lisa Howard, Alison Luff, Paul Alexander Nolan & Eric Petersen. Photo: Matthew Murphy

‘ESCAPE TO MARGARITAVILLE’: Andre Ward. Photo: Matthew Murphy

‘ESCAPE TO MARGARITAVILLE’: Lisa Howard. Photo: Matthew Murphy

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‘COME FROM AWAY’: The cast. Photo: Matthew Murphy

COME FROM AWAY
Book, music & lyrics by Irene Sankoff & David Hein
Directed by Christopher Ashley
Gerald Schoenfeld Theatre
236 West 45th Street
(212-335-1873), http://comefromaway.com/

By Scott Harrah

The inherent goodwill in humanity and the kindness of strangers during a global crisis are both ongoing themes in this brilliant sleeper hit musical.  A musical about what happened when nearly 7,000 people from 38 transatlantic jets were forced to land and stranded in tiny Gander, Newfoundland, Canada on September 11, 2001 may not sound like “feel good” material to fill one hour and 45 minutes. “A 9/11 Broadway musical? Really?” one first thinks. However, it is this show’s ability to surprise and touch even the most cynical, jaded New York theatergoer that makes it so unusual and emotionally powerful.

Most of us probably forgot about or never paid attention to the little human interest story (overshadowed in the press by the grisly articles dispatched from Ground Zero in Manhattan, the Pentagon in DC and Shanksville in PA) about how a remote town in Maritime Canada opened its homes and hearts to thousands unable to return to the USA when planes were grounded as U.S. airspace closed on 9/11.

Beowulf Borritt’s barren set of weather-beaten trees and little else vividly depicts Newfoundland.  The show opens with the rousing number “Welcome to the Rock” (a reference to the fact that Newfoundland looks like a giant rock in the North Atlantic “between there and here”), and the cast sings in twangy, hard-to-decipher Newfie brogues (a strange hybrid of Canadian and Irish dialects).

The cast’s frenetic energy and the Celtic-themed music command our attention.  Broadway rarely gets original shows that are not adaptations of a film or book, and this one is based on real-life events and has a docudrama feel to it.  On paper it sounds like it shouldn’t work at all, but the fact that it does beautifully makes Come From Away all the more trenchant.  Based on interviews with the people of Gander, Canadian book and songwriters Irene Sankoff and David Hein (a married songwriting duo) have assembled a pop opera that simply tells the stories of the diverse characters stuck in Gander without being trite or sentimental.

There are the “come from aways” (Newfoundland slang for outsiders): Texans, Brits, a Jew, Muslims, Germans, a female American Airlines pilot (Jenn Colella), as well as the townspeople, ranging from a teacher to an animal rescue worker. The actors play many dual roles. Caesar Samayoa, for example, alternates between a gay man and a Muslim Egyptian (with cogent conviction). Other subplots include a budding romance between an older Texas woman (Sharon Wheatley) and an Englishman (Lee MacDougal), and the experiences of a neophyte TV reporter (Kendra Kassebaum).

There are jokes about Newfoundland and Canada in general (complete with Tim Hortons gags), and odd local customs like kissing a codfish (don’t ask). Amazingly, for such a short show, there is also plenty of depth here, and the people aren’t portrayed as cartoons or stereotypes

Songs like “28 Hours/Wherever We Are,” ”On the Edge” and “Me and the Sky” (Ms. Colella’s showstopper about being the first woman pilot of a commercial jet) and more jump out at us with the melodic, emotional force we used to experience in old show standards.

It is easy to see why this show went from a workshop at a small Ontario college to mountings in Seattle, La Jolla, Washington, DC, a major Toronto production and now Broadway.  Although the story is set in Canada, it pays tribute to one of the darkest periods in modern American history.

In addition to the outstanding cast, expertly directed by Christopher Ashley, there is innovative choreography by Kelly Devine, which contains bits of country and lots of Irish-style Riverdance moves. The narrative is expertly woven through nonstop movement and song.

Come From Away is unlike anything we’ve seen on Broadway, a musical that celebrates and glorifies humanity, understanding and the reasons to embrace the differences of people we don’t know, while showing how no one is really that different—without coming off hokey or contrived. This is a musical with a simplistic yet sobering message of unity for the divided, dark America of 2017, making the show relevant, topical, and fun. It’s a new type of never-before-seen, uncharted musical territory much like Hamilton was, and should also make musical-theater history.

Edited by Scott Harrah
Published March 12, 2017
Reviewed at press preview performance on March 11, 2017

‘COME FROM AWAY’: The cast. Photo: Matthew Murphy

‘COME FROM AWAY’: Kendra Kassebaum. Photo: Matthew Murphy

‘COME FROM AWAY’: Jenn Colella & cast. Photo: Matthew Murphy

Clip from Come From Away, ‘Heave Away’

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