Posted 22 September 2012 - 10:58 PM
Posted 22 September 2012 - 11:29 PM
Posted 23 September 2012 - 04:03 AM
Posted 23 September 2012 - 06:15 AM
Posted 23 September 2012 - 08:14 AM
The set is large, but not Palladium scale, I think it could do well in a Savoy/Shaftesbury size venue. The unit set is three vast, classically architectural walls, all of which are gauzes so things can happen behind them, and projections can be shined on to them, although this does change when the more... magical elements come along, which I really don't want to spoil, and there's a lot of automation to create the various settings, and there's a full size facade of the Duke of Yorks that comes down at one point. However, I think the scale of the show, and the special requirements that they said the Curve could provide must be a lot to do with the flying, which is very impressive, and integral to the plot.
I loved the movie, but I think they've ramped up the drama, and added a lot more of the real life story of Barrie
(i.e. Sylvia having doubts about his intentions with the boys and her, him never being able to grow up because of the death of his brother and lack of love from his Mother, and also introduces his group of famous friends as a sextet.)
However, I believe the story that the musical tells is a much more engaging and dramatically interesting one than the film. The biggest change, however may be the increase of role for Mary, Barrie's wife, played by the fantastic Clare Foster, whose character now actually has something about her, and who actually meets the boys and Sylvia. Although in Act One, she comes across as a selfish, spoilt character, she redeems herself in Act Two. Regarding the musical comedy quote that a lot of people, myself included, have worried about, I would say its a musical comedy in the same way that Oklahoma and the classic musicals are comedies, in that there are comedic parts and tragic parts, but you do go out of the theatre feeling uplifted, most definitely. If I was to compare it to anything, it would have to be the Rogers and Hammerstein musicals: there are no modern belty numbers, just a lot of songs that help develop the plot, some of which are fun and joyous, and some of which will break your heart. I wrote on my twitter last night that a "classic new musical had been born", and I still agree. I don't know how it will do commercially in London, but the show is most definitely a crowd pleaser, and I can see it being the kind of show that will get terrific word of mouth and maybe, I hope, succeed in finding the audience it deserves.
Posted 23 September 2012 - 09:02 AM
Posted 23 September 2012 - 09:19 AM
SPOILER SPOILER SPOILER SPOILER SPOILER
Sylvia's final scene is absolutely beautiful. Peter Pan asks her to go to Neverland (she's dressed in her nightgown, just like Wendy), and she walks through all the performers, and the gauze lights up to reveal hundreds and hundreds of flowers decorating a giant staircase behind the back wall, and she starts to walk up until she is framed by a giant frame on the gauze, at which point the staircase begins to move backwards as she continues to climb up. The cast starts to disperse, Peter screaming "No", and leaving Barrie on stage, watching where she was, as Kensington Garden materialises around him. The end of Act One is stunning, and the first real glimpse into the fantasy world Barrie creates. Mary has just gone out for dinner with the critic who bludgeoned Barrie's last show, and Sylvia has told him that they shouldn't see each other again: Barrie's at his lowest point. He walks through the fog of London when the back wall rises and a pirate ship comes forward, Captain Hook in tow who tells him to "set sail on an adventure". The ship is a true sight to be seen, the sails taking up the full stage. They implore Barrie to create something new, go against the tide of what he has always written, and eventually he climbs aboard the ship, as mermaids appear. Barrie takes the wheel, and the ship floats further and further forward until, at the blackout, the ship is practically in the front row's laps! It truly is a spectacular moment, and everyone at the interval was abuzz with what had just happened. These two moments were truly highlights production wise, along with the final scene which I really think should be seen with an unknowing eye.
Posted 23 September 2012 - 09:31 AM
Good to hear such a positive review of Finding Neverland!!
I'm booked to see it on the 10th October but I've been looking forward to it for ages!
I live in Leicester, so the Curve is my local theatre and it's great that it's been given the chance to really showcase its brilliant stage with what sounds to be a truly spectacular show!
Grease, Joseph and the Amazing Technicolour Dreamcoat, The Phantom of the Opera, Hairspray, Oliver, Billy Elliot, Wicked, Priscilla Queen of the Desert, Les Miserables x 3, Sweeney Todd, The Book of Mormon x 4, Once, The Curious Incident of the Dog in the Night-Time, War Horse, Jersey Boys, Matilda.
Joseph and the Amazing Technicolour Dreamcoat, Cats, Matthew Bourne's Swan Lake, Matthe Bourne's Nutcracker, Legally Blonde, Chicago, Private Peaceful, Lyric Hammersmith/Filter Productions A Midsummer Night's Dream, Russian State Ballet's Swan Lake, Teatro Kismet's The Snow Queen, Teatro Kismet's The Little Mermaid, One Man Two Guvnors, West End Men, Matthew Bourne's Sleeping Beauty, The Pitman Painters, People, The Rocky Horror Show.
Charlotte's Web, The Borrowers, The Lion, the Witch and the Wardrobe, The Witches, Simply Cinderella, Oliver, West Side Story, Finding Neverland x 3, Piaf, The Hired Man x 2, Sweeney Todd.
Chicago x 2 (Curve), Mojo (West End), The Book of Mormon (West End)
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Posted 23 September 2012 - 10:04 AM
Posted 23 September 2012 - 06:58 PM
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