Finding Neverland at ART -- Reviews & Thoughts- Page 3

[Kad]

Posted: 7/24/14 at 11:32am

With the blackout feature, the iPad is no more distracting than a pad and pen. And it saves paper and allows notes to be easily shared.

There's a lot to dislike anhd criticize about Weinstein - but I don't think using an iPad should make that list.

Updated On: 7/24/14 at 11:32 AM

[newintown]

Posted: 7/24/14 at 11:35am

"And newintown, we'll have to have that argument over Bernstein's "genius" status in another thread. I think he went from inspired and brilliant to "important" and pretentious far too quickly."

Oh, you won't get much of a fight from me on that; but despite what can happen to artists after their peak, sometimes I think their earlier genius work still qualifies them for the label.

But I can certainly understand the opposing view.

[SonofRobbieJ]

Posted: 7/24/14 at 11:48am

I throw Michael Bennett into the 'genius' category.

[Tag]

Posted: 7/24/14 at 12:19pm

Hmm it looks like that Boston Magazine link no longer works.

[Princeton Returns]

Posted: 7/24/14 at 1:16pm

Are they still promoting it as a family musical comedy?

That's what bothered me most over here in the UK, as the original is nothing of the sort. It has humour yes, buts it's not a comedy. It's such an intimate story but I get the impression they want to turn it into a big splashy crowd pleaser

[RW3]

Posted: 7/24/14 at 4:31pm

On the ART's website, they forgot to put Laura Michelle Kelly in the cast section.

[EricMontreal22]

Posted: 7/24/14 at 5:39pm

"I'll admit to not being qualified to judge choreography in technical terms, but simply as an audience member, I found it to be very inventive and original, particularly with the servants' use of dance and movement to add a little whimsy to otherwise mundane (but necessary) stage movement."

This is by no means an insult, just an observation I find interesting. So many people I know (as well as critics) seem to feel they can't critique choreography unless they have dance experience or at least vast knowledge. I'm pretty well versed in dance, having taken different forms as a kid and teen and being ballet obsessed, but really, it's no different than judging someone acting, the writing or the music. Either it works, or it doesn't. I like Mia's choreography--in small doses mostly. But it sounds like she did a good job of toning her style down to fit the subject.

[emilyfaye48]

Posted: 7/25/14 at 12:09am

Does Carolee sing at all?

[inception]

Posted: 7/25/14 at 1:48am

I know I am being picky, and thread jacking, but just because an ipad saves paper doesn't mean it is environmentally friendly.
Ok I'll shut up now :)

[yellibean2]

Posted: 7/25/14 at 10:42am

Dusting out the old account to add my two cents (while simultaneously being reminded why I stopped posting here to begin with). I saw the show last night and I thought it was absolutely fantastic. Definitely one of the best musicals I've seen in a long, long time. Yes, there are a few kinks that should and will be worked out in the next few weeks, but I was still completely dazzled the entire time, and this is coming from someone with a super short attention span.

My main complaint is that Carolee Carmello was underutilized, and definitely too young for the role. I still think she did an amazing job with it, as did the entire cast. Seriously, they are rock-solid. I was reluctant about jumping on the Jeremy Jordan bandwagon for a while, but after seeing him here I can totally see what all the fuss was about. Laura Michelle Kelly gave a beautiful and understated performance and Michael McGrath stole the show during all of his scenes, especially as Captain Hook.

I wasn't sure what I would think of Mia Michaels' choreography, but I think it worked really well here. After seeing her usual work and the Tony performance, I was expecting it to err more towards contemporary, but I think she found a solid middle ground between that and traditional musical theatre. I'm not usually a huge fan of pop scores, but I really enjoyed this one. Yes, a few songs bordered on sappy, but I so was entranced I didn't really care. There was a letter from the book writer (blanking on his name, sorry) in the program that said they were kind of aiming for an anachronistic feel with the music and choreography, to reflect the original production of Peter Pan. To be honest, I didn't really question it much while watching it, but I guess it makes for an interesting choice.

Basically, I really loved it. I'm leaving town soon so I won't be able to see it again, but I'm curious to hear how it changes and what other folks think about it.

Updated On: 7/25/14 at 10:42 AM

[SomethingPeculiar]

Posted: 7/25/14 at 1:19pm

Kelsey Grammer said in an interview that he would be returning to Broadway in a Harvey Weinstein musical in 2015...could this be it? (The Michael McGrath/Dustin Hoffman role of the producer, though Grammer would be more Hoffman than McGrath). I haven't seen the ART production but I could picture him in the role.

[Back Row]

Posted: 7/25/14 at 1:50pm

"Kelsey Grammer said in an interview that he would be returning to Broadway in a Harvey Weinstein musical in 2015...could this be it? "

I hope not. Michael McGrath was one of the highlights of the show. I can't envision Grammer getting half the laughs that McGrath got.

[Tom theater rat]

Posted: 7/25/14 at 4:51pm

Thanks yellibean for the review.....I wish today was next Tuesday!!! The start of my theater obsession was when I moved to Boston in the year #%&*...anyone else remember when it was the regular tryout town? Sweeney Todd, La Cage, Dreamgirls! Then it dried up for a while. ART and Paulus are bringing back the pre-broadway excitement to this town. Now when I go to NY (twice a year...3 shows a trip), my choices can expand because I've already seen something here that I can check off my list. Hope I have the same enthusiastic response to Neverland. I'm clicking my heals 3 times....Oh, wrong show.

[Michael Bennett]

Posted: 7/25/14 at 5:42pm

SWEENEY TODD didn't try out in Boston (it opened cold in New York) but of course many, many other shows did.

[RW3]

Posted: 7/26/14 at 1:07am

Is there a song list in the program? If so, can someone be willing to post it?

[gleek4114]

Posted: 7/26/14 at 1:55am

There is a program on eBay and if you look through the pictures there is a song list.

[RW3]

Posted: 7/26/14 at 1:58am

^Thanks!!!!

[Junior Babcock]

Posted: 7/26/14 at 8:16am

Oh, the days when Boston was an honest to goodness tryout town. The first musical I saw in tryouts in Boston was "Cabaret." Then "On a Clear Day..." And "The Apple Tree" and "Zorba" and "How Now Dow Jones" and "A Time for Singing" and "Mame" and even Angela Lansbury in that wonderful mess called "Prettybelle." All in the 1960's. Here's hoping that ART and "Neverland" can help revive a tradition.

[sjewell88]

Posted: 7/26/14 at 10:33am

I saw this show for my birthday last night and sorry haters but I loved it! Sure there is tightening that needs to happen and some things to tweek but the core of the show was very effecting, brilliantly staged and packs an emotional wallop that I found very emotional. It was also very well received by the audience who were all on their feet and enthusiastically cheering before the ensemble even started their bows. Expect this on Broadway this season.

Highlights
First act curtain number "stronger". Think defining gravity for a man. It was a thrilling way to end the first act with Jordan belting in a really high register and his character finding the strength and inspiration to go his own way and follow his heart. He is even high up in the air of the pirate ship in his mind a la Idina as elphaba in Wicked. Totally effecting and spine tingling.

Second act love duet. Jordan and Kelly sing a beautiful song by Barlow around the ghost light of a theater professing how much they have come to mean to each other while projections of their shadows act out what they are imagining. Very inventive, affecting and Paulus showing off some of that creative brilliance.

Second act song for the four boys. Fantastically talented kids sing a song about being anything they want to be. Sort of Matildaesque but works perfectly in the context of this show

Sylvia's death scene. Left me awestruck. I can't describe it and do it justice. I'll just say Paulus does amazing things with wind machines, glitter, a piece of fabric and an open window. You have to see it for yourself. So moving!

Suggestions:
Beginning of show. The first minute or two were spine tingling but arguably the slowest moments of the show were the first two songs. It took a while to get going and really care about the characters. I think the show first started to work once Barrie meets the kids in "believe". Before that needs revision to capture our attention and bring in the audience.

mrs. Barrie. I didnt dislike her enough. And I'm not sure the dancing servants worked in the house. She either needs to be more of a bitch to see why her and Barrie are so incompatible or they need to cut the silly servant antics. It seems like it's from a different show like Spamalot or the Producers.

The dog. Many in the audience found him adorable but I thought he was more distracting than anything. Not sure how to fix this one,

Carolee Carmello. I love her. I just wish she had more to do.

Overall it's a fantastic show that keeps getting better as it goes along. I was thinking the show had a lot of potential at intermission but I was completely blown away by the emotional impact of the second act. Even recounting some of the more emotional moments made me choke up again after the show. Jeremy Jordan is fantastic and I think with more tightening and revisions for Broadway this one will be a winner!

[Back Row]

Posted: 7/26/14 at 11:27am

I disagree with a couple of your points, but I share your enthusiasm for the production. I actually thought that the dancing servants were a nice touch, and I had no issue with the dog. One thing that I liked about this production is that the ensemble was actually given something to do. A number of the funniest lines were delivered by members of the ensemble, and I liked that. I also think that Michael McGrath was perfect for his role. If this show moves on to Broadway, I hope he comes with it.

One thing that struck me about the final scene with Sylvia was that I remember the scene from the movie, and this version was much more emotionally impactful and "magical". With all the tools available to the movies these days, the fact that Paulus was able to outshine their efforts on stage is testament to not only her skill as a director, but to the possibilities of live theater as well. It was brilliant.

And as much as I liked the show as it is, there are numerous opportunities to take some production numbers to the next level with more time and a bigger budget. This is a very good show that can actually get better, and it appears to be in the hands of people who have the skill to make it better.

[john45cc]

Posted: 7/26/14 at 1:35pm

Just joined to add my two pence. You probably won’t hear from me again. Travelled some distance just to see what had been done to this show which failed to progress after its regional try-out in Leicester, England.
Saw last night’s performance and will return tonight and Sunday. My first impression was very favourable, which I think was shared by the majority of the audience judging by their reactions.
Of course, the whole story as depicted in both the movie and the musical is largely fantasy. For a more accurate depiction of JM Barrie and the tragic lives of those close to him, watch “The Lost Boys” starring Ian Holm or read this article: http://www.telegraph.co.uk/culture/donotmigrate/3556421/How-bad-was-J.M.-Barrie.html
Accepting that this is a work of fiction and fantasy, it works very well. There is humour, there is pathos, there is spectacle, there is energy. The sets and the special effects were outstanding. The choreography is sometimes a little over the top – the dancing servants, the manhandling of the boys, and I did not understand the use of mirrors in one number. The lead actors performances were all excellent. Josh Lamon and Paul Slade Smith deserve special mention for their supporting roles. The music was easy to listen to and not too intrusive. The songs are well written and for the most part not too cheesy. The dog had some very funny moments but I too felt that it was somewhat of a distraction. I would have preferred it to have a full mask rather than just a silly hat with floppy ears. I’m surprised no one has mentioned the outstanding performance of Aidan Gemme as Peter Llewellin-Davies. This young man is a natural and perfectly captured Peter’s changing moods and the gut-wrenching sadness of his difficulty in dealing with his father’s death. He also has a great singing voice. For me his duet with the excellent Jeremy Jordan was one of the highlights of the show.
Looking forward to seeing it all again tonight.

[thebeautyis3]

Posted: 7/26/14 at 4:11pm

Wait. Am I reading your review correctly, sjewell? A love duet between Barrie and Sylvia?

Ugh, exactly what I feared when Jordan was cast. Barrie as a romantic lead doesn't work for me. He should be quirky and odd, and I love the relationship between Barrie and Sylvia in the film because it's not a "love story." They come to rely on and love each other, but it is not romantic. Or hopefully I've just read this wrong/misinterpreted sjewell's review.

And as for Mrs. Barrie, I don't think we are supposed to dislike her, at least not vehemently. Yeah, she's a little annoying, yeah they aren't compatible, but she's not a terrible human being. Not everything is black and white. At least, that's the impression I've gotten from the film. Updated On: 7/26/14 at 04:11 PM

[sjewell88]

Posted: 7/26/14 at 10:36pm

Thebeautyis: when you say "love duet" I expect you are thinking of something like "love song" from Pippin or "all I Ask of You" from phantom. That is not this song. The song I was referring to is called "what you mean to me" and it is all about how Barrie and Sylvia's relationship has grown and expanded into something intense and special. Meanwhile the shadows on the wall that the ghostlight projects are acting out that romantic fantasy that they feel too constrained by their circumstances to profess. And yes it ends in a kiss. I would argue however that of course their relationship is more than just friends. They were each other's saviors and Sylvia gives Barrie (spoiler alert) guardianship of her children after her passing. Of course they meant a lot to each other and their relationship was romantic. At any rate, the song is not your everyday schlocky love ballad but it is very affecting.

And I would argue its essential that we don't like Mrs. Barrie or at the very least understand why she and Barrie are such a bad match. If we don't then Barrie's relationship with Sylvia and the boys becomes much less understandable. He becomes a cheater and liar and we lose all sympathy for him. I just thought it might be necessary to emphasize why these two were so poorly matched to make the central relationship between Barrie and Sylvia (and the boys) relatable..

[David2]

Posted: 7/26/14 at 11:22pm

I have front row dead center seats for this show and was just wondering if it might be too close?? Considering this is the only the second show I will have seen at the Loeb Drama center I need thoughts...

[john45cc]

Posted: 7/27/14 at 12:19am

The stage is quite low and there's an orchestra pit between the front row and the stage so no problem with neck-ache but there is a lot going on in many of the scenes and it might be easier to take it all in from further back. I prefer to be close up. The conductor will not obstruct your view from dead centre but might be a distraction. I had front row aisle seats 6 (right) and 15 (left). Both excellent, but there is a little more action on the right side.