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McCarthy observes that he is “a transvestite’s and fetishist’s dream of alluring ambiguity … a provocative coquette of a boy.”

The powerful, complex female lead was a rarity in traditional music theatre, where operatic tropes were easily assimilated, such as the virginal naif, the coquette, the old shrew.

Corrin immediately achieves a balance between the coquette and energetic idealist we picture Diana to be, and her performance invites the viewer into the Princess's interiority almost immediately.

Sexy did not mean revealing skin or playing the part of the coquette.

As that awesome wordsmith Plutarch pointed out — “It was by this device of Cleopatra’s that Caesar was first captivated, for she showed herself to be a bold coquette.”