Finding Neverland premiere

[sparepart973]

I was supposed to attend a matinee of Finding Neverland yesterday, but got bumped into press night because they canceled my matinee without notifying me. This is what I thought:

I loved the movie version and have cried every time I saw it. This version lacks the heart and emotional intensity that the movie brings. The score's advantage is that it is classical musical theatre and absolutely has no pop influences, except it sounds really unmelodious and unmemorable. The focus is completely on JM Berry's character, and it focuses more on his struggle as a writer and as a child adult, and completely neglects the development of the other characters. Rosalie Craig really doesn't get much to work with besides what Kate Winslet did in the movie, though is given the opportunity to burst into a big (segment) of a number every now and then. The most wonderful scenes in the movie are sort of neglected. For example, one of my favourite scenes was when the orphans are brought into the theatre. In this version it is just "mentioned" in a song, and that opening night climax that they've achieved in the movie is not done here at all. The children are excellent, but act more of an ensemble than the two individual characters in the movie that really shine (Michael and Peter). It seems that the actors' safety net in this production are the special effects and the visual aspect of the show, which are commendable but not enough to make it very amusing. The car ride scene is really beautifully done, but it gets tired quickly, and I really hope they didn't have to stretch it out to justify the budget they spent on it (but of course, stretch it they did). The ending was absolutely horrible. While I would be bawling in the movie version, I was really waiting for the show to end. It's beautifully staged, though there is absolutely no emotional connection with the characters at all to care. It also has been given a rather uplifting ending (no pun intended!) where the kids and James end up flying like Peter. Rob Ashford came at the curtain call to deliver a speech thanking the producers and cast.

There was obviously a lot of work done here, but the show's weakest point is its content, and not execution. They need to do some serious book reworking in act 1 to make it more fluid and improve the songs to give them emotional impact. Act 2 is much better than act 1, and goes (a little faster).

[FrontRowDress]

We went yesterday and really did enjoy it, but it has a huge problem in that it really is far too dark for kids yet trying too hard for the "family" audience for adults. Billing it as a musical comedy is a huge mistake too, as there are very few laughs. Having said all that it is always a joy to see and hear Julian Ovenden up close and I did have a tear in my eye at the end and I joined in the standing ovation. I'd expect major rewrites before it hits the West End though. As usual more on my blog, but the above is virtually a full summary.


Finding Neverland

[246015]

I too went to see the matinee yesterday (6th October) and have to say that I really loved it! Yes it is a bit slow in the first act, but I was never bored for a moment and the show went incredibly quickly for me.

First thing I have to say is that it looked gorgeous! The sets/costumes/effects/lighting were really beautiful and have left a lasting impression on me, particularly the stunning projections. It is certainly one of the best looking shows I have seen in a long time. I also have to give credit to the direction of some truly wonderful stage pictures/mise-en-sc¯ne that are extremely evocative. I won't give anything away for those who haven't seen it, but the last image of the show, with the gauze coming down at the end, was beautifully realised, as was the penultimate scene where Sylvia ascended the staircase. I found it to be extremely symbolic/poetic.

I also loved the score. I have heard many people comment that the score was not particularly memorable or that it was formulaic, but I completely disagree. To me, it was never formulaic and constantly interesting. There were some real lyrical and melodic moments which were beautiful. If one didn't come out humming the songs then I believe that is because the songs weren't hit over the heads of the audience by being reprised hundreds of times. I hope that the cast record a cast album soon so that we can have the score preserved for prosperity.

The cast were all excellent, particularly Julian Ovenden who sang and acted the role of J.M. Barrie brilliantly. What a truly great talent he is!

I agree that this is not really a family show and should not be aiming for the family market. There are some extremely dark themes in the piece that children do not understand and apart from a few moments that verge on panto for the sake of the families (which really should be removed), it does not seem orientated towards children at all.

I look forward to seeing this show again upon its West End transfer to see what they have done with it.

[Scripps2]

This is an intelligent and sophisticated musical: from the outset we are dealing with issues of marital breakdown and bereavement. The lyrics blend seamlessly with the book in developing the show’s themes and both are an impressive piece of craftsmanship. The show held my attention entirely from start to finish and that is a credit to the quality of the writing.

Ostensibly, it doesn’t seem to be a show for children at all but maybe I am underestimating them as the child-packed matinee yesterday had a very well behaved audience, the main problems coming from old biddies rattling sweet-wrappers.

The sets are also superb (and what a varied international CV the set designer Scott Pask has) complementing the action but never dominating it, whilst providing spectacular theatrical moments without ever being a substitute for the quality of the writing. Mr Pask’s impressive Tudorbethan Drawing Room/Study/Library at Barrie’s home would have earned him a pat on the back from Anthony Salvin. In fact he can come and redecorate Scripps Towers.

Perhaps the weakest link is the score, which seemed technically clever but never reached in to my soul nor stirred my emotions. It may well be one of those scores that needs repeated listening to fully appreciate. With David Charles Abell conducting it is obviously being given high calibre treatment.

There is still room for improvement before it goes on the next stage of its journey: the show gets off to a slow start with two similar songs for JM Barrie; there is a cringe inducing scene where Barrie and cohorts perform a Highland fling; and quite early on, in reference to J M Barrie’s nationality, there’s the all too frequent American assumption that English and Scottish are the same thing. Clare Foster as Mrs Barrie seems to have to make a lot of awkward faces to show her marriage is breaking down and, when it eventually does, it seems sudden and too matter of fact – the one big glitch in an admirable script. The scenes between Barrie and Mrs du Maurier (Liz Robertson, who is capable of more) play out two dimensionally even though they are written in three.

In the programme it stated that PG Wodehouse was to have been played by Norman Bowman but it was definitely not Mr Bowman on stage and, since Wodehouse had nothing of interest to do, I wonder if Norman has taken his talents elsewhere?!

Despite my reservations I enjoyed this much more than I enjoyed Matilda (but that may have something to do with my dislike of Dahl) and, although I didn't join in the standing ovation, I do hope that it goes on to great success.

PS good to have met you 246015. It looks like we could have met FrontRowDress too!

[zyx987]

I think Norman was watching the show because he is going on as J.M. Barrie on Monday.

[FrontRowDress]

Wish we could have all hooked up for a gab & an interval V&T Scripps2 & 246015

[246015]

It was nice to meet you too Scripps2, and your friend. It's a shame we did not know FrontRowDress would be there too!