Based on the Miramax motion picture by David Magee and the play The Man Who Was Peter Pan by Allan Knee, Finding Neverland follows the relationship between playwright J. M. Barrie and the family that inspired Peter Pan, or The Boy Who Wouldn't Grow Up, one of the most beloved stories of all time.
Final Broadway performance August 21.
Here, unfortunately, Paulus is saddled with a lackluster score -- by pop veterans Gary Barlow and Eliot Kennedy, who provide mostly syrupy ballads and vaguely peppy production numbers. The book, by rising playwright James Graham, is better -- hokey at points, but offering enough playful wit and compassion to make this story about the creation of Peter Pan fly...Glee alum Matthew Morrison...is predictably likable, and credible, as a man who rediscovers the boy inside himself...Gemme convincingly shows us how Peter's skepticism toward Barrie turns into affection and trust. His moments with Morrison are some of the truest and most poignant in the show...Special effects are on hand, as you might expect, to make these sequences more vivid...In the end, though, this Neverland is most charming in subdued moments, when the emphasis is on human connection and, eventually, loss.
For a show about releasing the imagination, the musical is surprisingly conventional -- a down-the-middle family entertainment with excellent actors...as well as sturdy storytelling that recreates the movie with dogged fidelity...the production has a low-wattage wow factor that...mostly misses the chance to transform the fantasies in Barrie's mind with 21st century magic...Morrison -- a major Broadway talent before the world knew him as Mr. Schue from 'Glee' -- has a beard and a three-piece suit and an endearing playfulness as yet-another sensitive father figure...Grammer gets all the best lines and delightfully makes the most of them...Designer Scott Pask's fantasy scenes -- except for a beautiful sparkly death scene for a beloved parent -- have an intentional homemade quality, while Mia Michaels' peculiar choreography traps high society in grotesque jerky cavorting. Brit pop composers Gary Barlow and Eliot Kennedy offer serviceable songs with elementary structures and rhymes we can sing before we hear them.
| 2015 | Broadway |
Original Broadway Production Broadway |
| 2016 | US Tour |
First US National Tour US Tour |
| Year | Ceremony | Category | Nominee |
|---|---|---|---|
| 2015 | BroadwayWorld Awards | Best Leading Actor in a Musical | Matthew Morrison |
| 2015 | BroadwayWorld Awards | Best Lighting Design | Kenneth Posner |
| 2015 | BroadwayWorld Awards | Best Orchestrations | Simon Hale |
| 2015 | BroadwayWorld Awards | Best Scenic Design | Scott Pask |
| 2015 | BroadwayWorld Awards | Best Score | Gary Barlow |
| 2015 | BroadwayWorld Awards | Best Sound Design of a Musical | Jonathan Deans |
| 2015 | Drama Desk Awards | Outstanding Actor in a Musical | Matthew Morrison |
| 2015 | Drama Desk Awards | Outstanding Featured Actress in a Musical | Carolee Carmello |
| 2015 | Drama League Awards | Distinguished Performance Award | Kelsey Grammer |
| 2015 | Drama League Awards | Distinguished Performance Award | Matthew Morrison |
| 2015 | Drama League Awards | Outstanding Production of a Broadway or Off-Broadway Musical | Finding Neverland |
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