#1
Posted: 8/13/23 at 11:17pm
This musical was so great on Broadway, i'm wandering why it's not being done regionally. Any ideas?
Why is Finding Neverland never done?
#2
Posted: 8/13/23 at 11:27pm
I’m pretty sure the rights aren’t available.
#3
Posted: 8/13/23 at 11:42pm
There was nothing normal about this production, so it tracks that the rights wouldn't be available in a normal fashion either :)
#4
Posted: 8/14/23 at 12:04am
I thought it was interesting how the tour continued, especially in the midst of the Weinstein fallout.
My father (AIDS)
My sister (AIDS)
My uncle and my cousin and her best friend (AIDS, AIDS, AIDS)
The gays and the straights
And the white and the spades
#5
Posted: 8/14/23 at 6:34am
There was a Japanese production earlier this year.
https://horipro-stage.jp/stage/findingneverland2023/
Updated On: 8/14/23 at 06:34 AM
#6
Posted: 8/14/23 at 8:01am
ErmengardeStopSniveling said: "There was nothing normal about this production, so it tracks that the rights wouldn't be available in a normal fashion either :)"
What does this even mean? What was so abnormal about it? (I thought it was much better in Boston, not only due to the leas switch.)
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
#7
Posted: 8/14/23 at 9:07am
dramamama611 said: "ErmengardeStopSniveling said: "There was nothing normal about this production, so it tracks that the rights wouldn't be available in a normal fashion either :)"
What does this even mean? What was so abnormal about it? (I thought it was much better in Boston, not only due to the leas switch.)"
Well HW threw out an entire earlier version of the show (the Frankel/Korie/Rob Ashford version). And then the casting drama. And the behind the scenes stories aren’t great (not misconduct — just severe micromanagement and morale issues). And then HW tried to assert himself as a creative force on Broadway, only for it to get 0 Tony nominations.
#8
Posted: 8/14/23 at 9:14am
As for why rights aren’t available, wonder if it has anything to do with the film rights being owned by Miramax, which has changed hands so many times (previously owned by Disney, then part of an equity firm, now owned by Paramount) and Harvey was licensing them from his old company. Could also have something to do with the scrapped version of the show, and the fact that there’s nobody around anymore at Weinstein Co. to sort through all the contracts and make deals with a licensor. Or could be something else all together.
#9
Posted: 8/14/23 at 10:34am
I'm still vaguely waiting for Frankel and Korie to write a roman a clef musical about their experience on Finding Neverland.
#10
Posted: 8/2/24 at 2:57am
Regional premiere at the Hale Centre Theatre May and June 2025 if anyone is interested.
hct.org
#12
Posted: 8/2/24 at 8:23am
#13
Posted: 8/2/24 at 10:42am
The worst musical I've ever seen.
#14
Posted: 8/2/24 at 10:46am
I saw it with Matthew Morrison, Laura Michelle Kelly, and Terrence Mann and thought it was fine. Carolee and Teal were out which was a bummer. Some of the ballads were rather lovely but the book needed work. I know they changed a lot for the tour so I’m interested to see what version they license.
Updated On: 8/2/24 at 10:46 AM
#15
Posted: 8/2/24 at 12:16pm
Akitarent said: "Casting drama?"
It has to do with Jeremy Jordan being replaced by Matthew Morrison, right?
#16
Posted: 8/2/24 at 12:34pm
Saw this in its final days in NY and thought it was okay. First act was a bit of a slog until the final 10 mins or so, and the show pretty much took off from there.
I got to see Tony Yazbeck, Paul Slade Smith, and Laura Michelle Kelly (the closing night trio of leads).
“I am furious, but I am sailing.”
#17
Posted: 8/2/24 at 12:40pm
Shows that are average at best tend to fade away. It had a very successful tour but mostly because it was on subscription series that had HAMILTON. It's like countless musicals that have a brief moment and then just fade. IMHO the score was truly awful/average/pop junk.
#18
Posted: 8/2/24 at 4:53pm
Curious as to who exactly is on the other side of this lawsuit. Also, there seems to be a typo to when the tour launched. The tour launched in 2016, but the article says 2019.
My father (AIDS)
My sister (AIDS)
My uncle and my cousin and her best friend (AIDS, AIDS, AIDS)
The gays and the straights
And the white and the spades
#19
Posted: 8/2/24 at 6:04pm
I saw the national tour 6 years ago, and it was not one of my favorites. It was practically boring if I am being honest. Good performances but very boring storyline and songs that did not really catch on.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
#20
Posted: 8/2/24 at 6:27pm
Call_me_jorge said: "Curious as to who exactly is on the other side of this lawsuit. Also, there seems to be a typo to when the tour launched. The tour launched in 2016, but the article says 2019."
Just a guess, but the lawsuit could be related more specifically to the non-equity tour? The Equity tour was produced by Weinstein Live Entertainment and NETworks, but the non-equity tour was just produced by NETworks. I don't see Weinstein's name anywhere on the credits page for the non-equity tour.
#21
Posted: 8/2/24 at 7:54pm
Musical theatre rights are trickier behind the scenes than you’d think, especially when they are bottom-of-the-barrel mostly-forgotten IP in a contentious legal situation.
I’ve been trying to unravel a similar legal situation for a few years, so I figure that’s the reason this one disappeared.
#22
Posted: 8/3/24 at 4:58pm
Call_me_jorge said: "Curious as to who exactly is on the other side of this lawsuit. Also, there seems to be a typo to when the tour launched. The tour launched in 2016, but the article says 2019."
Most of the answer to your curiosity can be found in the article you link. Harvey sued the production companies of the national tour. That would be Weinstein Live Entertainment, LLC (WLE) [and/or its successor in interest] and NETworks. In Post #20, CATSNYrevival suggests it may just be NETworks, having something to do with Equity vs non-eq (I doubt that) but as a practical matter it probably doesn't matter because, like The Weinstein Company (TWC) as a whole, WLE is presumably bankrupt and with no assets to use for the benefit of any creditor (or plaintiff).
I have no idea if there is a viable claim against NETworks, but it is certainly litigable by whomever the defendant entities are. During the time involved in the tour, I believe Harvey would have already been arrested and also fired by TWC. Not a grand mess on the level of the worst of them, but not an open and shut case for Harvey.
Updated On: 8/4/24 at 04:58 PM
#23
Posted: 1/22/26 at 1:22pm
I’m sure every regional theater will be doing this soon now that it’s available for licensing.
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