Finding Neverland at ART -- Reviews & Thoughts- Page 5

[Back Row]

Posted: 7/31/14 at 11:23pm

They were able to transfer Pippin within a couple of months. The A.R.T. run ends in late September. Getting this kind of show open for the holiday season seems to make sense. If Weinstein was able to twist enough arms to get a spot on the Tony Awards, one would think that an appearance in the Macy's parade would be a piece of cake. All speculation of course, but just pointing out that it can be done relatively quickly if that's what they want.

[oncemorewithfeeling2]

Posted: 7/31/14 at 11:49pm

I saw this tonight and left totally, 100% satisfied. Obviously, things need tightening, but most shows in previews and out of town try outs do. However, it has a loft of strength right now.

I personally LOVED the choreography Mia Michaels did, but I do preface this by stating I've danced her work and admired her for years. It's a very nice modern and lyrical take on traditional dance styles we think about in most shows. To me, it was flowy. Ethereal. Light. She also succeeds with the idea of movement--how do the characters walk, how do they move about?

I liked the first act's closer, "Stronger." It's stuck in my head and I'm a-ok with that. Second act is more dramatic and emotional, but it gives the cast and Paulus a chance to shine. Jeremy Jordan and Laura Michelle Kelly have a lovely duet, but there's also a nice scene for the young boys...I liked it. Didn't crossover into the cheesy child-acting hole.

The music didn't seem to britpop to me. I'm not sure if that's how it's performed and the delivery is good, or if it's just not a Gary Barlow pop song.

What strikes me here is a Jeremy Jordan. Yes, he seems a big young and probably is, but this is not a Newsies or Smash Jeremy Jordan. His voice sounded strong and manly. Not like a kid. He carries himself well and is clearly trying to present himself as older here. He succeeds.

Honestly, it was just enjoyable and will only continue to improve through previews and the entire tryout. I can see this hitting broadway soon and potentially doing quite well.

[bryan]

Posted: 8/1/14 at 1:00am

hi just give us the songs form the show not just say it is on ebay just the songs

[Gosalyn12]

Posted: 8/2/14 at 11:35pm

I just saw the show tonight, here's the song list.

[dramamama611]

Posted: 8/3/14 at 12:30am

I was there tonight as well.

While the show isn't perfect, it's damn-tootin' close, IMHO. Visually, this is one of the most stunning shows I've ever seen. Two very specific, breath-taking moments which actually caused me to grab the leg of the patron next to me. (Luckily, I KNEW her!) I really liked most of the score, certainly had there been a recording to purchase, I would have downloaded it already. While I'm a huge fan of Mia Michaels, I wasn't sure if her forte would translate to a musical theater stage. I thought the choreography was stupendous in every way.

The performances were wonderful. Each ensemble member had a distinct and clear personality, and they were really a delight to watch in their roles. Jeremy Jordan was warm, funny and in fabulous voice. Laura Michelle Kelly was a delight through and through. Carolee Carmello (in her red wig) was lovely, beyond lovely (and I don't the think she is under utilized.) What a surprise to realize that Melanie Moore (winner a year or two ago of So You Think You Can Dance) was in the show! I only glanced at my program briefly and she didn't stand out until she appeared as Pan.

Here are the few things I think need attention: Act I is a little rough getting the story started, so I think there needs to be some trimming. I could do without the love song in Act II. I actually liked the song, and the blocking of it-- I just don't know if I like making their relationship physical is "right".

Lastly, for those that have seen it, what thoughts does anyone have if they ended the show with the Neverland Reprise? That song and the imagery it presents are so incredibly gorgeous, I think its actually a more emotional ending. I get the loose ends and closure that the current ending provides, but I wonder if it necessary.

[dramamama611]

Posted: 8/3/14 at 12:30am

Double post -- but I'll put it to good use.

Can anyone tell me where the stage door is for the ART? I'm bringing my teenage daughter (that just LOVES JJ) and I know she'll want to try to meet him.

TIA

Updated On: 8/3/14 at 12:30 AM

[yellibean2]

Posted: 8/3/14 at 1:00pm

I can't confirm, but from what I've heard you just wait by the staircase across from the auditorium and the actors come down from there.

[dramamama611]

Posted: 8/3/14 at 1:50pm

Thanks, I had a feeling it was in the lobby somewhere. Appreciate it.

[thebeautyis3]

Posted: 8/3/14 at 2:16pm

valeposh, where did you hear there would be some major cast shakeups? Any ideas what those might be? That would be interesting to say the least. I wonder if this really is the show Grammer was talking about (as mentioned earlier in this thread).

[Back Row]

Posted: 8/3/14 at 3:07pm

And where does JHud fit in?

[valeposh]

Posted: 8/3/14 at 4:15pm

thebeautyis3 - A good friend of mine is a Broadway actor, and we've recently talked about the upcoming season. I can't really go into details for now as it's nothing official yet, but I don't believe it involves Grammer, at least as of now.

[oncemorewithfeeling2]

Posted: 8/3/14 at 4:36pm

Dramamama, I agree 100% with what you said about ending with Neverland reprise instead of the All that Matters reprise. Neverland is a beautiful song and I think ending it with the an emotional ending and song works with this piece,

[thebeautyis3]

Posted: 8/3/14 at 5:27pm

Thanks valeposh. I hope you can tell us more later. I wonder if they'll keep Jordan, bring back Morrison, or bring in someone completely new and surprise us all.

[Back Row]

Posted: 8/3/14 at 6:02pm

valeposh - Any insight on why they might consider a cast shakeup? There are only four adult leads, and the four actors in those roles all have impressive Broadway/West End resumes. Considering the fact that the show is still in previews, why would they be considering a cast change at this point? This appears to be one of those shows that does not need a "star" to succeed. It will succeed or fail on the strength of Diane Paulus' production and the association with the movie. In fact, I don't recall any of the highly successful A.R.T. transfers in recent years including major cast changes. (just relying on memory, though) Why would this show be any different? And why would any of these actors pass up other opportunities and live out of a suitcase for three months if the ultimate goal was not a Broadway gig? It just doesn't make any sense to me. The wild card, of course, is Harvey Weinstein, so I guess it doesn't have to make sense. I'm just trying to figure out why anyone would talk about changes this early, or why any of these actors would even take the job if it was already pre-determined that they would be replaced after they had already done all the heavy lifting in Cambridge.

[dramamama611]

Posted: 8/3/14 at 6:24pm

How do you know ANYONE in the cast passed anything up? If this is true, I'm sure it wasn't at they time they signed contracts. Additionally, being part of something brand new is exciting for most actors. I can also imagine that working with Paulus is quit desirable. (Although I agree, that they are already planning a major shake up in casting seems plausible at this juncture.)

[Scarywarhol]

Posted: 8/3/14 at 6:40pm

Could those song titles be a little more generic? How are the lyrics?

[Auggie27]

Posted: 8/3/14 at 9:04pm

Hearing these enthusiastic accounts, I'm again reminded of how poorly the show was served by the Tony number, which suggested none of the theatrical pleasures discussed above. If anything, it looked dangerously bland, cobbled together, pop-infused and high concept/low execution, without much nuance or authentic (British, for starters) texture. If the show's strength is its visual sleight of hand, what an odd decision to shoehorn an Idol-esque solo into material that deserved a striking first glimpse. I daresay, the Tonys didn't whet many appetites, and if memory serves (I've already blocked it out), it was the biggest turn-off of the night.

[dramamama611]

Posted: 8/3/14 at 9:56pm

Like night and day, Auggie, night and day.


The lyrics are mostly very good, I thought there were a few clunkers here and there.

[Up In One]

Posted: 8/4/14 at 1:52am

I saw Finding Neverland Thursday night and wanted to wait until I could watch the film again before I shared my feelings about what I saw at ART. On the whole IMO they have taken an adult movie about inspiration, finding your inner child, accepting death and explaining death to a child and dumbed it down a bit to be part Disneyanna, part Blue’s Clues Revue and parts So You Think You Dance at its most bizarre . Diane Paulus fresh off the circus gravy train with Pippin is back with some more theatre translations of cirque tricks using the Montreal based’s AmaLuna show’s opening and closing special effect to even better effect as a magical finale for Neverland. That visual, which matches the films fantastical ending very nicely, sends the audience out on a high as does the staging of the first act Captain Hook finale. A show is in great shape when it sends its audience out into the lobby or street oohing and ahhing but a musical should be doing that with more than the staging and special effects.

For most of the evening I found myself being drawn in when the musical stayed close to the source material and frustrated when it tried to open things up. In the film the actors in the troupe register as not being happy with the choice of a children’s fantasy for their next production when Barrie first presents it to them but they go with it as any acting troupe would. Here we get those simple moments stretched out to where we meet a theatre company (in search of a Kiss Me Kate production?) who revolt at the thought of performing Peter Pan and are quickly brought on board by a rousing My Fair Lady like, Mary Poppinish choral number replete with clinking ale glasses. The musical number “Play” is a missed opportunity and a poorly written place holder for something “up beat” in what essentially is a tragic play. This acting troupe also occupies the first fifteen minutes of Finding Neverland to deadening affect.

The love story behind this show which could resurrect the conversations this board had about the adulterers in Bridges of Madison County is consummated in a Disney Prince and Princess love song ("What You Mean To Me")that includes projections Walt himself would be proud of. The relationship or the affair at the heart of Finding Never land deserves something more complex. But complexity is what this production only faces half the time and dresses it up in butterflies and puppy dog tails the other 50% of the time because I think its making a play for the kiddie crowd – when the subject matter is all wrong for children. I did see many a little girl in the audience, I think they thought they were getting a Disney show – which if you ignored the plot – Finding Neverland looked and felt a lot like. The plot has us watch a child with deep psychological problems from the secretive death of his father watch his mother get sick and die. A tragedy worthy of a dramatic musical perhaps but this one plays it so lightly at times it makes one want to shake the authors into a re-write.

There is an amazing musical number called “When Your Feet Don’t Touch The Ground” where the adult Barrie and the child Peter take solace in each other after facing the tragic truth about their mother/lover’s doomed future. The performances, the vocals, the staging and the orchestrations all swelled to address a complexity in the storytelling that seemed impossible to verbalize or visualize. The aforementioned Captain Hook first act finale does the same; it combines pop art staging and orchestrations to tell the complex inner psychology of the lead character. Both numbers were medicines that were easier to take with a spoon full of musical theatre sugar.

But then there were the kids numbers, the Blues Clues inspired “Believe” and “We’re All Made of Stars”, with their saccharine lyrics, pop music beats and jazz hand staging’s that made me wince until I saw the 4 or 5 year old girl next to me smile. Once again I couldn’t figure out if she was improperly brought to an adult show or was I the uncle dragged along to a show that was trying to keep us both engaged?

Barrie's wife is made to play a buffoon in this adaptation. Her first act number “Rearranging the Furniture” is taken from a sad melancholic line in the film which helps paint a picture of a woman not engaged in her marriage a woman who avoided facing the truth. Here they take that line literally and try to create a comedic number where none should exist. Here too is where we get our second dose of the most bizarre choreography a Broadway show has seen in – maybe ever.

SYTYCD is a guilty pleasure for me. At times I find it to be the most creative and inspirational of the talent shows on the tube. Mia Michaels has created many a memorable and thrilling dance number for that show. When I heard she was involved here I got very excited. Here more than anywhere does this show look like the product of a desperate producer than the vision of an inspired team of collaborators. The group of dancers in this show (yes there is a separate chorus of dancers) look like they were selected from the cast of SYTYCD and put in a room with Mia to create their numbers which were inserted into the show after the tone had been set. The movement for the acting troupe at the top of the show was jarring; the campy ballet moves while they “Rearrange the Furniture” were embarrassing. The Brady Bunch staging of “Believe” and “We’re All Made of Stars” just silly and too staged. I will say she did brilliant, if again schizophrenic work on the carousel and revolving door movement of “Circus of Your Mind” and the beautifully staged Peter Pan ballet in the finale. But overall her work was more distracting and showy than helpful to the whole.

I thought Jeremy Jordon did great work as J.M. Barrie as did Laura Michelle Kelly as Sylvia Davies. Two of the Davies brothers (The youngest and oldest?) were fantastic. The actor playing Peter Davies left much to be desired for me. Carolee Carmello’s character of the grandmother was one of the few that transferred from the film unscarred . She was very good if unremarkable in the role. Michael McGrath played the producer like a vaudevillian and his Hook was not as menacing as I would have liked.

I am shocked that they are considering this show for the Winter Garden because it’s not a “big” show. I think it would benefit from a more intimate house. But first it would benefit from another out of town try out where the creators can take what they learn in Boston and come back with a better product. I must report that the audience went nuts for the show. I just wished the tone were closer to the film’s tone in every way. Right now you have to sit though a lot of hokum to get to the meat of the show. It ran more than two hours and 45 minutes when I saw it. They could easily cut 30 minutes if they can’t sharpen the focus and even out the tone.

PS: They should cut the gay joke. Really WTF?

[ekline1]

Posted: 8/4/14 at 12:26pm

It was AMAZING! I saw it on the 27th and was floored! There was 1 scene at the start of the show that slowed things down, but otherwise the momentum was good and strong, as was the music! I had seen the movie several times prior to going so of course I was comparing the 2 (great movie, must watch) but in the end the stage is a different experience versus the film. If I could see it again, I would! <3

[dreaming]

Posted: 8/4/14 at 12:45pm

"I think it would benefit from a more intimate house. But first it would benefit from another out of town try out where the creators can take what they learn in Boston and come back with a better product."

I haven't seen it but some friends have and they expressed a similar feeling-that they hope the show isn't rushed to Broadway, but given time to grow and change. (Brantley did an article in 2009 about the art of the out of town tryout and cited several examples of shows that waited and did tryouts.)

[dramamama611]

Posted: 8/4/14 at 2:20pm

All in One,

While I disagree with many of your opinions, I do agree with your thoughts on Rearranging the Furniture - the number itself hough I loved the choreography. itself.

Also didn't live the pub scene.

And I felt the opposite about McGrath, LOVED his Hook, not so much his producer.

Unless this gets trounced by the critics, it will high-risk it to NY.

[dreaming]

Posted: 8/4/14 at 2:25pm

I fear it will simply because there is a theater available. I understand the economics but I think artistically it's a shame. They could take the time to make it better.

[newintown]

Posted: 8/4/14 at 2:56pm

Oh, I'm sure it'll come in no matter what the local notices. Look at Chaplin - nothing but terrible reviews in every prior incarnation, and it still came in. (Not comparing this to Chaplin in any way.)

Updated On: 8/4/14 at 02:56 PM

[Up In One]

Posted: 8/4/14 at 11:11pm

The producer lost money on the production in England and did a wholesale clearing of all the creatives. If he is as dedicated to the show as he seems he should let this new team settle in and mature from guns for hire to full blown committed collaborators. In my opinion this production has promise but needs a lot of work and not the kind of work they can do before it opens at ART. If the Winter Garden was too big for Rocky it will devour this show.