WORKING Title, the prolific London-based movie company, has caught the theater bug.
And why not?
Its first foray through the pro scenium arch is “Billy Elliot,” which by my count should pick up at least 11 Tony Awards next week, including Best Musical.
(The one award up in the air is score, which could go to Tom Kitt and Brian Yorkey for their accomplished work in “Next to Normal.” I do think, however, that Elton John and Lee Hall‘s score for “Billy” is underrated — Tony voters should give it a good listen before sending off their ballots.)
Now comes word that Working Title’s next stage production will be a musical based on “Bridget Jones’s Diary,” the film version of which has grossed more than $250 million.
Helen Fielding, who wrote the popular book on which the movie is based, has written a draft of the show, including lyrics.
There’s no composer yet but don’t rule out Elton, who’s said to be a fan of both the book and the movie.
“It’s very early days yet, and we’re trying to decide which way to go musically,” says Eric Fellner, the head of Working Title.
“If it’s a direction Elton agrees with, we would of course be happy to work with him again.”
Fellner says the musical will probably use some of the pop hits from the movie — “It’s Raining Men,” “All By Myself” and of course that great Chaka Khan anthem “I’m Every Woman,” which for some reason always makes me think of Tovah Feldshuh.
Working Title presented a reading of Fielding’s script last week in London. The invitation-only crowd included Stephen Daldry, who directed “Billy Elliot,” and Peter Darling, who choreographed it.
So are they on board to direct “Bridget Jones”?
“If you can persuade them,” says Fellner.
Movie companies have a mixed track record on Broadway. Disney scored with “The Lion King” and “Beauty and the Beast” but stumbled badly with “Tarzan” and “The Little Mermaid,” which, a little crab tells me, may go the way of the Fulton Fish Market by Labor Day.
Warner Brothers flopped with “Lestat,” and DreamWorks fell way short of the mark with “Shrek,” a $25 million theme park show that’s notable for its total lack of theatrical imagination and wonderment.
All I can say in its favor is that Brian d’Arcy James, a Tony nominee for his performance as Shrek, manages to inject some warmth into a musical that otherwise fails to capture the wit and joyful spirit of the movie.
On the other hand, Universal is minting money with “Wicked” and is also a co-producer of “Billy Elliot.”
Working Title’s played Broadway well, avoiding the trap of coming off as a big, rich, know-it-all movie company that’s going to reinvent the musical.
“We’ve made a lot of films, but we are absolute neophytes in the theater business,” says Fellner. “The one thing we’ve learned is that when it comes to theater, Broadway really is it.
“We started ‘Billy Elliot’ in London, but without putting the West End down, I have to say that Broadway brings a whole new dimension to the show. The idea that the Tony committee and the New York theater community as a whole have embraced ‘Billy Elliot’ is very, very exciting.”
Fellner’s a diplomat, so I’ll translate: “Give us that Tony, please!!”