‘Diana, The Musical’ Broadway Review: A Royal Mess That Just Wants To Be Loved

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The quest to create the perfect sandwich takes on existential tones in Clyde’s, the tasty if occasionally and slightly undercooked new dramedy from two-time Pulitzer Prize winner Lynn Nottage. Though it lacks the heft of the playwright’s great Sweat, Clyde’s makes for an intriguing companion piece.

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Sixty-four years late and right on time, Alice Childress’ wise and stirring backstage comedy-drama Trouble in Mind is making its long-in-coming Broadway debut tonight, and to describe the play as prescient would be an understatement. Uncanny rings truer.

Naveen Kumar Is it possible that Lady Di might have loved “Diana, The Musical”? We’re talking about the princess who surprised Covent Garden with a duet to Billy Idol’s “Uptown Girl,” a brash and unsettling marriage of cultures high and low.

For purists and ride or die fans who like to quibble over such things, there are two Paul Thomas Andersons. One is the young, ambitious, hyper-caffeinated auteur behind “Boogie Nights” and “Magnolia,” full of confidence (maybe illicit substances, too), brio, and show-off-y talent (keyed up Scorsese-like camera moves and soundtracks and Robert Altman-like ensembles).

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How do these Trevors make it look so easy? Each one – Trevor: The Musical, and its lead character Trevor: The Boy – carries a burden that could sink a more fragile theatrical creation, doom a less buoyant performance. But these Trevors persevere, and through sheer pluck, likability and smarts win over anything and anyone within the sound of their irresistible voices.