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Jenna DeVal in the musical "Diana". Photo: Sara Krulwich/New York Times

As a Royal Correspondent of the Irish Times, I noticed that Diana: The Musical is on Netflix, so I canceled my large budget report to write about it. (Apologize to the Political Channel.) 

Diana: The musical tells the story of the famous tea towel and mug model Diana, Princess of Wales. The modern royal family has no political power, and can do nothing but shake hands and kill their ancient fox foxes. Having a story about the royal family is like owning a story about a flag, emblem or spoon: it is difficult to dramatize.

Obviously, the solution is to make everyone sing and dance. The musical is very suitable for tight-lipped nobles. In a musical, people sing their self-evident inner thoughts, and others cannot hear it. In contrast, when I sing my self-evident inner thoughts, feelings will be hurt. (Apologize to the Political Channel again.)

Diana (Jeanna de Waal) just walked from the ordinary streets of Northamptonshire. In this musical, she is an ordinary civilian, who surpassed her status because of the love of the royal family, just like The Little Mermaid or Jay-Z. However, darkness is coming. The royal staff chorused her as "the best girl...the worst job in England". (I'm pretty sure that the actual servants of the "worst job in England" might argue that they "actually have a worse job in England", but it feels rude to mention it.)

A large group of media entered, portraying our habits, wearing briefs, trench coats and Cockney accents. (It's like the EastEnders episode of the Irish Times.) Diana is also wearing a comfortable pullover with sheep woven in it. But if you look closely, you will find that one of the sheep is a black sheep. (I am a "critic", just like Jacques Derrida!)

In any case, the work blinked so much to the audience that it soon began to look like a twitch. But I like it. Like most cultural consumers, I never want to watch something I haven't seen or read a thousand times.

Diana is being sought after by the heir to the British throne Charles, who is a heavy chair owned by the British, not a written constitution. He already has a mistress, Camilla Parker Bowles, who is the inventor of the "bowl", but he doesn't think it will hinder marriage, because as the Latin on the Windsor badge says , The royal rides the person they like. He is the Cavalier Prince Charles, and one day he will become the Cavalier King Charles.

He was also an idiot and took Diana to Bach's concert. She hates Bach because she likes street music: Dire Straits, Elton John, Showaddywaddy. She imagined taking Charles to a trendy club, where they played quiet guitars and he played the "robot". I think if he does this now, it will allow the royal family members to continue to the next generation. (You know, many former royal correspondents served as consultants to the royal family.)

they got married. The theme of the wedding is fancy dress. Diana dressed up as a big cake and Charles dressed up as a gorgeous captain. They participated in an event in Wales where Diana was better than Charles, and the choir pretended to be Welsh. They do this by wearing flat caps and singing in a "Welsh" accent that is somewhere between Scotland and an owl. I don't think I will see anything new in the theater again, but I was wrong: this is new.

Diana has a child, and she sings to him "For me, you are more than an heir..." The baby barely stopped herself and said, "I'm very upset, you feel it is necessary to say that, mother. "

Then she gave birth to another child, and she sang to him: "Harry, my ginger-haired son, you will always be second to none." This can be translated as: "Harry, you redhead idiot, I am now Lie to you on the inheritance rules."

Since Charles did not ride a horse with Camilla, she was unhappy for a while, but then she found herself. "She moves in the most modern way," singing various roles. What exactly does this mean? Maybe they were referring to the "robot" performance earlier in the show. Or she has a jetpack or wheels on her feet, such as R2-D2.

We are constantly being told that Diana is a revolutionary figure who will change the world. Her political awakening manifested itself, like James Connolly and Che Guevara, wearing beautiful dresses and talking to farmers as if they were human beings rather than sentient buntings.

At a royal evening, she danced on the stage, ignoring Britain's famous laissez faire law. Her behavior angered her fellow royals because it was an implicit criticism of the monarchy, implying that they should embrace more and wear better clothes. They obviously didn't know that other critics of the monarchy said their heads should be on the spear.

However, Diana still feels sad for Camilla, so Barbara Cattelan in pink comes here to talk about unfulfilled desires. Then James Hewitt ascended from the trapdoor on the floor, topless, riding in the saddle, while Cattelan snorted. It's like something created by Jeff Koons, it's beautiful.

Hewitt said: "I only offer one type of course, that is, riding courses." My confidence in the art of drama has been rekindled once again. So Diana has an extramarital affair, but she still has a showdown with Camilla. This is because, dramatic, she needs to be a victim of this terrible marriage, otherwise it all looks like a pile of rich man's shit.

To be fair, this musical does show a truly meaningful thing that Diana has done for the world. While the wider world was still cruelly demonizing them, she embraced AIDS patients. That makes people sigh with emotion. Although in this version, one of the men sang the couplet "I may be unwell, but I am handsome", this character is worthy of his own musical.

After that, the tit-for-tat media war between Charles and Diana was staged like a hurriedly assembled list. Diana's biographer Andrew Morton sang a terrible song, and this is how I imagined him promoting his book. Diana's butler, Paul Burrell, provides wise melody advice, just like the magical talking teapot in a Disney movie. The queen and Diana had a completely fictitious conversation, and according to the dramatic convention, they agreed in the conversation, after all, they were not much different. If the Revolutionary Committee were to occupy this palace, they might have the same view.

All this ended with Diana divorcing and facing the future. "If Charles abdicates and leaves William to rule, then all these sufferings will not be in vain," she sang strangely, as if the childbearing heir was her real purpose after all. Then, as the chorus read aloud the report of her tragic ending, she slowly walked off the stage. At this point, I am a soft person and I feel very moved, even though the whole musical is the strangest thing I have seen since "Cat". Next week: cats!

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