A Royal Reckoning | Diana's Story Takes the Stage
- Liane Morris
- 4 hours ago
- 8 min read
IMAGES SUPPLIED BY HYDE ENTERTAINMENT
She was the most photographed woman on the planet. A global icon whose smile launched a thousand headlines and whose heartbreak unfolded under an unforgiving public gaze. Decades after her death, Princess Diana remains a figure of deep fascination - mythologised, scrutinised, adored and misunderstood in equal measure. Yet, behind the tiaras and tabloids, was a young woman searching for love, purpose, and a sense of self in a world that demanded perfection.
That tension between public image and private reality sits at the very heart of Diana, arriving at the Playhouse, Civic Theatre Newcastle this March in a bold, reimagined production by Hyde Entertainment. More than a biographical retelling, this production invites audiences to sit close to Diana’s humanity: her vulnerability, courage and refusal to disappear quietly.
For producer and director Seb Smee, this story is not about coronets and controversy. “She wasn’t a fairytale,” he says. “She was a real person who just wanted to be loved. That’s what makes this story timeless.”
Hyde Entertainment officially came into being at the end of 2023, but its foundations were laid years earlier in the mind of a teenager who couldn’t stop imagining shows.
“I’ve been acting my whole life,” Seb says, “but I’ve been thinking about producing since Year 8. I was always asking myself what stories I’d tell, how I’d stage them, who I’d want to work with.”
That thinking became action in 2023, when Seb produced his first show, Chatroom - a confronting British play exploring cyberbullying and online radicalisation. At just 15 years old, he produced and performed in the production, which nearly sold out. The catalyst was timing, instinct and a bold birthday request. While scrolling through a theatrical licensing website during rehearsals for Madagascar at Hunter School of the Performing Arts, Seb stumbled across Chatroom. He instantly felt its relevance.
“I just knew people needed to see it,” he says. “That was the driving force.”
Instead of presents, Seb asked his parents and grandparents if they’d help fund the production, and they said yes! From there, Hyde Entertainment grew quickly and deliberately.
Chatroom was restaged with an all-Central Coast cast in partnership with Jopuka Productions, reworked into what Seb describes as “almost a completely different show.”
In 2025, Hyde hit its stride. That year alone saw the company produce The 25th Annual Putnam County Spelling Bee, a joyful, critically well-received success alongside Echoes of Expression, a Newcastle Fringe Festival production showcasing monologues performed by graduating students from Hunter School of the Performing Arts.
“It was about giving my fellow graduates opportunities,” Seb explains. “Real audiences, a showcase for their talent.”
Hyde also secured a coveted place in the City of Newcastle’s Upstage program, receiving support to stage Calvin Berger at the Playhouse - a project Seb had been dreaming about for four years. The production earned six CONDA Award nominations and cemented Hyde Entertainment as a company to watch. Despite the youth of many involved, Hyde is not a youth theatre company by design.
“As I age, the company will too,” Seb says.
“Diana is a huge show. You can’t rely only on young performers or creatives. This is about quality, professionalism and trust.”
Three years ago, Seb watched Diana on Netflix and felt an immediate connection.
“I fell in love with it,” he says. “I never thought I’d get the chance to work on it.” That chance came when friend and collaborator Jack Madden floated the idea of Seb producing it as the company's major musical for 2026. It felt like the natural next step for Hyde: a full-scale musical with choreography, complex storytelling and emotional weight.
“It’s a big step up,” Seb admits. “But it’s the right one.”
Internationally, Diana had a rocky beginning. Its Broadway run was brief, and the critical reception was mixed, with much of the backlash tied to the unusual timing of its pandemic-era filmed release. Seb doesn’t shy away from that history.
“I think the original production struggled because there were conflicting ideas about how to tell the story. But I never disliked it. I always felt it just needed strong performers and an intimate space.”
That intimacy, he believes, is key.
“This show is not meant to be experienced on a screen. It relies on live theatre, on silence, breath, and proximity. Its power comes alive in the quiet moments.”
Audiences can also expect something genuinely new. This version incorporates revised lyrics, new musical material, and a reworked ending.
“It’s been renewed, and people shouldn’t judge it by the Netflix version.”
Importantly, this is the first Australian production of Diana.
“No one here has seen it. That was a huge drawcard. I’m thrilled we get to introduce it to Australian audiences.”
While many feel they already know Diana’s story, Seb believes familiarity can be deceptive.
“She was the most famous person in the world. But younger generations don’t necessarily understand her impact.”
At its core, Diana is a story of love and loss, identity and mental health - themes that resonate powerfully today.
“We live under constant surveillance now through social media,” Seb says. “Back then, Diana was navigating that kind of scrutiny for the first time. There are so many parallels.”
The musical strips away mythology to reveal the woman behind closed doors: her loneliness, her defiance, her strength.
“Prince Charming didn’t save her. She broke the rules. She spoke out. She didn’t go quietly.”
The score reflects that complexity, shifting between pop-rock numbers that celebrate Diana’s warmth and classical orchestration that underscores the rigid elegance of the royal establishment.
“Each character has their own musical identity, and if you listen closely, you’ll hear hints of what’s coming. It’s genius.”
There is humour too - sharp one-liners, cheek and wit balanced carefully with the weight of the story.
“You’ll laugh, and you’ll cry - it has so much heart. Even people who don’t usually like musicals will find their way in.”
Above all, Seb feels a responsibility. “I’m proud to be preserving Diana’s legacy - telling her story with grace and honour.
At the centre of the production is 18-year old Ava Gilbert, taking on one of the most iconic and emotionally demanding roles in modern musical theatre. A singer since the age of seven, Ava began acting on stage at St Philip’s Christian College before performing in productions such as Footloose: The Musical, Rodgers & Hammerstein’s Cinderella, and then with Hunter Drama, Carrie: The Musical, for which she received a CONDA nomination.
“To be part of this production is amazing,” she says.
Ava has immersed herself in Diana’s world, watching documentaries, studying interviews, observing her posture, voice and expressions. The accent, she admits, occasionally sneaks into her everyday life.
“What I love is that this is a real story,” Ava says. “I didn’t like how Diana was treated, and I want to honour her.”
Working with a relatively youthful creative team has been empowering rather than limiting.
“There’s more flexibility in how I approach the character,” she explains.
“I’m trusted to find my own version of her.”
Ava speaks warmly of the cast’s supportive, collaborative energy. The emotional intensity of the role is challenging but deeply rewarding.
“My favourite part is the people. Singing, acting and dancing together - it’s incredibly special.”
For choreographer Olivia Prentice, Diana represents a significant milestone – at age 27, it’s her first full-length musical theatre choreography. A dancer since the age of three and a teacher for the past decade, Olivia brings a rare blend of technical skill, musical sensitivity and pedagogical insight to the role.
“In musical theatre, choreography has to serve the story,” she explains. “You’re working around singing, props, emotion - everything.”
With a cast boasting varied strengths, Olivia’s task is to create movement that unifies rather than exposes. Her experience teaching open, age-based dance classes has proven invaluable.
“My job is to make sure the audience can’t tell who’s a trained dancer and who isn’t,” she says. “Everyone grows together.”
Interestingly, Olivia came to the project without a strong attachment to Diana’s story. “My mum was a fan. I wasn’t,” she admits.
“But this process has completely shifted my perspective.”
She believes audiences will experience a similar recalibration.
“It invites you to question your preconceived ideas. This is a whole new generation learning her story.”
While Diana stands at the centre of the story, this production is firmly an ensemble piece, brought to life by a cast and creative team whose depth of experience adds weight and nuance to the narrative.
Opposite Ava Gilbert, Joshua Davies takes on the role of Prince Charles, navigating the character’s internal conflict with sensitivity and restraint. A familiar face on Newcastle stages, Davies brings a strong musical theatre pedigree to the production, with past roles earning multiple CONDA nominations and establishing him as a performer capable of balancing vocal strength with emotional complexity.
Amber Curby steps into the role of Camilla, a portrayal that carries particular responsibility. With more than two decades of experience across stage, screen, writing and directing, Curby approaches the role with integrity and care. Having directed Hyde Entertainment’s Calvin Berger in 2025 - itself a CONDA-nominated success - she brings both authority and empathy to a character so often reduced to caricature.
As Queen Elizabeth II, Jennifer Halliburton brings a quiet gravitas shaped by years of working behind the scenes in theatre. Known primarily for her exceptional work in props design and management, Halliburton’s rare step into the spotlight lends authenticity to the role, informed by a deep understanding of theatrical detail and discipline.
The principal roles are supported by talented performers, including Alanna Lee as Sarah Spencer, Jack Madden as Paul Burrell, Jaidyn Arthur as James Hewitt, Miranda Smith as Barbara Cartland, Raphael Teixeira as Andrew Morton and Andrew Parker-Bowles and Nicholas Pavan as Colin. The ensemble features Maddy Lardner, Elianne Bierman and Nikita Lloyd.
Co-director Jack Madden supports Seb Smee in shaping the production’s tone, ensuring a careful balance between humour and heart. Brooke Lidbury serves as Music Director, bringing the score, composed by Tony Award® winners Joe DiPietro and David Bryan, to life with clarity and dynamism. Lighting design and operation, as well as set realisation and construction, are led by Miles Punch, creating an immersive environment that complements the story.
Costume design by Joshua Maxwell ensures each character’s wardrobe reflects both personality and period authenticity. Together, this collective of artists and technicians creates the framework that allows Diana’s story to unfold with clarity, cohesion and emotional impact.
Diana arrives at a moment of momentum for Newcastle theatre. With younger producers stepping into leadership roles and companies like Hyde Entertainment pushing artistic ambition, the city’s creative future feels expansive. For Seb, this production is both a culmination and a beginning.
“This feels like a new era,” he says. “Not just for Hyde, but for Newcastle.”
Looking ahead, Seb plans to expand nationally, with a Sydney Fringe production later this year and touring ambitions beyond. But for now, all eyes are on the Playhouse.
“This show has so much to offer,” Seb says.
“No matter how you feel about the royals, you’ll find something that moves you.”
Diana’s story also resonates uniquely with Australian audiences.
“Australia has a unique relationship with the royal family – some love them, some resent them, some loved Diana, some blame her for the erosion of the traditions of the royals. Regardless, this is a show for both old and young with something that, no matter what your stance on the royals, you will enjoy.”
For many, it’s a chance to revisit the woman behind the headlines, to witness her courage, wit, and vulnerability unfold live on stage with a fabulous soundtrack, and to understand why her story continues to captivate across generations.
As one line from the musical reminds us: “The stories girls are taught to believe are not the stories that a girl should believe.”
Perhaps that’s why Diana’s story still matters.
Diana plays at the Playhouse, Civic Theatre Newcastle from 1–8 March 2026. Tickets are limited and selling fast.
