DIANA, the titular musical about the beloved late princess now in its Chicago premiere at Theo Ubique Cabaret Theatre, has three songs dedicated to her wardrobe. This seems only fitting for the style icon. I was most eager to hear a particular lyric from her 11 o’clock number “The Dress,” in which Diana takes dressing for revenge to new heights. The lyric may have been mocked on Broadway, but let me tell you, Diana’s assistant and royal advisor Burrell (here played by Jon Parker Jackson) milks the lyric about her “f*ckity f*ckity f*ck you dress” for all its worth. (I think it helps that surely Jackson was aware of the lore around this lyric by the time this production was staged). It’s not subtle, but it works.

DIANA is a fun and delightfully quirky selection for Theo’s intimate cabaret space; it’s a unique and intriguing choice. Sadly, it also marked the final production from founding Artistic Director Fred Anzevino, who died suddenly at the end of April. Anzevino and Brenda Didier co-directed DIANA (with Didier also choreographing). I think the production choice represents Anzevino’s boldness of vision for Theo: It’s a challenge to stage a musical about the grand scale and drama of the British royal family on such a small stage. And it’s a testament to his vision that DIANA works so well. 

Based on the Broadway reviews, I expected DIANA would be a hot mess. I’m pleased to report it’s not. Sure, the material is on the nose, and sure, the characters are painted in broad strokes. But, honestly, that’s much in keeping with the media coverage of the late Princess Diana Spencer and her life. DiPietro and Bryan upaint Diana as the obvious hero with Camilla Parker Bowles as the clear villain, and Prince Charles as a selfish, often clueless figure. But musicals have long traded in archetypes, and those befit this material. While DiPietro’s lyrics are unsubtle, they neatly tell the story of Diana’s life. I think, too, that Bryan and DiPietro nicely handle the challenge of depicting Diana’s interiority. The musical charts Diana’s evolution from modest, naive aspiring royal to a subversive young woman determined to use her platform for good. Even the material reflects that. There’s no swearing in the first act lyrics, and then the musical ends with the infamous song about a “f*ck you” dress. 

Theo has a royally excellent Diana. Kate McQuillan is absolutely regal, and she beautifully plays the arc of Diana’s growing maturity and self confidence. When we first meet McQuillan’s Diana, she’s tentative and reserved. By the end, McQuillan delivers every line with a bit of bite, while still maintaining her propriety. McQuillan does a gorgeous job with Diana’s posh British accent and convincingly maintains it while singing. She has a plaintive, crystalline vocal tone, and she’s equally skilled at performing interior ballads like “Simply Breathe” (a meditation on Diana’s postpartum depression) and “The Words Came Pouring Out,” in which she tells all to a journalist.

Though the production has a modest set, the team was wise to invest in McQuillan’s wigs and costumes. Costume designer Patty Halajian captures the essence of some of Diana’s most iconic looks, and McQuillan sports a series of convincing blonde wigs reflecting Diana’s hairstyle evolution. 

Though he’s not sympathetic, Jack Saunders makes a terrific Charles. Saunders finds the balance between sheltered and authoritative (when need be), and he has a lovely singing voice (well used, in particular, on his musings to Diana about “Whatever Love Means Anyway.”) Colette Todd is a worthy foe for Diana as Camilla. Although the musical paints Camilla in an entirely unsympathetic light, Todd plays the arc engagingly. A second act face-off between Diana and Camilla at a birthday party (aptly titled “The Name Event”) is the show’s highlight — and McQuillan and Todd are superb sparring partners. Jacqueline Grandt does double duty as Queen Elizabeth and Barbara Cartland, a beloved romance author. She has regal authority, though she puts on a few too many airs. 

I think DIANA works well structurally, though the first act is too long and could do with fewer songs. The second act is taut, but a dull number for the Queen (“An Officer’s Wife”) following the thrill of the dress perplexed me. That’s an easy cut, especially because at that point, it seems unnecessary to try to introduce any parallels between Diana and the Queen.

Overall, DIANA is a fun and engaging musical tribute to the late princess, and this production seems a beautiful tribute to Anzevino’s legacy. It takes the grand scale of Diana’s story with the British royal family and puts audiences up close with this character — and McQuillan’s performance seals the deal on bringing out the humanity in DIANA. 

DIANA plays at Theo, 721 Howard Street in Evanston, through July 13, 2025. Tickets are $30-$60. 

Tickets: theo-u.com

Photo Credit: Time Stops Photography

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