Finding Neverland is this season’s Lion King; it’s the new go-to show for kids. I saw it at a Wednesday matinee; the house was filled with children and their parents, and everyone had a fine time. This musical avatar of the story is based on the Johnny Depp movie of the same name, and on a play called The Man Who Was Peter Pan.
The plot revolves around the author J.M. “James” Barrie (Matthew Morrison), who has gained fame but not happiness. His grandiose, fully decked-out home is full of servants but feels empty. He’s married to a beautiful actress (Teal Wicks), but they have different goals and desires. His producer, Charles Frohman (Kelsey Grammer), encourages him to write something new, but in the same tired genre. Barrie feels he’s played out. His writing is turgid, and he feels blocked artistically.
One day in Kensington Gardens, Barrie’s reverie is disturbed by three rambunctious boys (Christopher Paul Richards, Sawyer Nunes, Alex Dreier) who involve him in their pirate fantasy. Their brother, Peter (Aidan Gemme), doesn’t join in; he’s been somber and withdrawn since their dad died. Luckily, the children’s very attractive mother, Sylvia Llewelyn Davies (Laura Michelle Kelly), comes along and apologizes to Barrie. He’s smitten with her, and appreciates her spirit and her relationship with her sons. He’s excited to see them all again, and becomes not only a friend of the family, but also Sylvia’s love interest. Needless to say, he feels greatly inspired, and models his new play, Peter Pan, on the energetic family. It’s a hit, and all seems to be going along splendidly, until, in best soap opera tradition, Sylvia coughs. And then, she coughs again. There are some blatant instances of playing to the house for laughs. Asking Kelsey Grammer if people say “cheers” where he comes from is cheesy but foolproof. A “Who’s on First” type routine in the second act is mercifully short. And the “Titanic”-style pose between James and Sylvia does come close to hitting us on the head with the doomed-lover scenario.
The performers are skillful, and keep up the energy throughout. Morrison is suitably handsome, if not quite as affecting emotionally as he might be. Grammer mostly talks his songs, Rex Harrison style. It’s Kelly’s voice that astonishes, soaring beautifully, and tugging at the heartstrings. I’m glad to see the much-loved Carolee Carmello in a hit show, but I do long to hear her sing her own song. Her role as the boys’ grandmother doesn’t allow her to showcase her considerable talent. The songs, with the exception of “When Your Feet Don’t Touch the Ground,” are mostly unremarkable, but I have a weird feeling that they might find their way onto the pageant stage, or become part of an ice-skating routine. Several of them have a “This is the Moment” vibe.
The clothing is lovely to look at, as are the sets. Director Diane Paulus keeps the show moving, but it is too long, and could have used some judicious cutting.
There’s nothing really objectionable for theatergoers of any age. The one naughty word is, don’t worry, not spoken, but mouthed silently to the house. My only caveat would be for adults to realize that there is the death of a character, which may be upsetting for more sensitive children. This might be a good jumping off point to discuss what happens when a loved one — human or pet — passes away. Personally, I rather like the idea that when we cross to the other side, we go to Neverland, a place where no one is sick or gets old. It’s also nice to have a production which provides us with a temporary escape to that happy place.
