Finding Neverland - A New Musical @ Leicester Curve

Second star to the right, and straight on til morning, Neverland is waiting for you...

Genuinely new musicals - as opposed to revivals and jukebox musicals - are a rare treat these days, and rarer still is it to find one that unites such a talented cast and creative team. Finding Neverland, in previews at Leicester Curve from 22 September to 18 October, is just that - a musical so new, it's not even finished yet.

Harvey Weinstein is making his first foray into theatreland with a stage adaptation of the film his company, Miramax, produced in 2004, staring Johnny Depp as depressed play-write J.M. Barrie and Kate Winslet as the beguiling widow Sylvia Llewelyn Davies, the real life Wendy to his Peter Pan. The reviews (see The Guardian and The Telegraph for instance) all say more or less the same thing: while the cast are commendable, and the £7million staging is impressive, the story has gotten lost somewhere along its journey to the stage and the score isn't particularly stirring. While I loved the film, to be honest, I wasn't expecting too much from Finding Neverland beyond the pleasure of seeing Julian Ovenden again, so I was pleasantly surprised by the show.

This photo from The Telegraph highlights just how energetic Julian Ovenden is in Finding Neverland

I have to agree that Scott Frankel's music isn't particularly memorable, but it's not bad either, and works better in the context of the performance than in YouTube clips like the ones below. It also seemed that director Rob Ashford threw everything possible at the stage - from a real St Bernard to a giant pirate ship - to win over the audience, which was great fun but did appear to be covering the cracks in the story and the score. The ending, which in the film is so heartbreaking, had no power at all, perhaps in an attempt to make the show more family friendly.

I don't really care though, because I had a wonderful time at Finding Neverland. Julian - on stage for almost all of the two and a half hour long production - proves just how versatile he is, wowing the audience not only with his voice, but unwavering energy, swashbuckling, Scottish dancing, and being led in a tango by Captain Hook. Rosalie Craig, too, displayed an impressive voice, creating a very sympathetic Sylvia, while strong support came from Liz Robertson as her mother, Clare Foster as Barrie's wife, Mary and Oliver Boot as Hook/an unappreciative theatre critic. It's always a pleasure to watch such a talented cast, even if they aren't working with the most exciting material. 

Finding Neverland also benefited from musical direction by David Charles Abell, the man behind the baton at the opening of any good musical (you'd recognise him from the Les Misérables 10th and 25th anniversary concerts among many others). I was extremely excited to see him right in front of me, singing along enthusiastically throughout the show. I told him afterwards how I was a huge fan - I think he was surprised that anyone was a fan of conductors! Anyway, as well as being very polite, he told me that the production was evolving every day and would surely change significantly again before its eventual London opening. Given the money and powerful names behind Finding Neverland, I have no doubt that the  critics concerns will be addressed and the production will thrive in London.

After David, I put my fan-girl skills to even better use, spotting Julian just as he was about to escape from the theatre, and grabbed him for a hug and a photo. He was really lovely and I spent the rest of the day grinning idiotically. I'm so uncool. 

After all that effort on stage, Julian clearly needed a nap!

When Finding Neverland makes its inevitable transfer to London, I'll be there, hoping that the show will have found its spark along the way, just as J.M. Barrie did.