THE LOST GIRL full-length musical by Ben Bonnema & Arianna Rose by
[full-length 90 minute musical]
Winner, 2020 Florida Festival of New Musicals (pushed to 2021 due to Pandemic)
Winner, 2019 Viterbo New Works Festival
Winner, 2015 Buck Hill Skytop Music Festival
Winner, 2015 Players Club Staged Reading, Steinhardt School of Music, NYU
2013 Collaborative Development Program Workshop, Frederick Loewe Theatre, NYC
2020 Finalist, Imagen...
Winner, 2020 Florida Festival of New Musicals (pushed to 2021 due to Pandemic)
Winner, 2019 Viterbo New Works Festival
Winner, 2015 Buck Hill Skytop Music Festival
Winner, 2015 Players Club Staged Reading, Steinhardt School of Music, NYU
2013 Collaborative Development Program Workshop, Frederick Loewe Theatre, NYC
2020 Finalist, Imagen...
[full-length 90 minute musical]
Winner, 2020 Florida Festival of New Musicals (pushed to 2021 due to Pandemic)
Winner, 2019 Viterbo New Works Festival
Winner, 2015 Buck Hill Skytop Music Festival
Winner, 2015 Players Club Staged Reading, Steinhardt School of Music, NYU
2013 Collaborative Development Program Workshop, Frederick Loewe Theatre, NYC
2020 Finalist, Imagen New Works @ MSU
2012 Finalist, Rhinebeck Writers Retreat
Set in 1909 London against the backdrop of the Suffragette Movement, THE LOST GIRL is about integrating our past into our present and deciding who we want to be moving forward. For whatever reason, no story about Peter Pan has ever focused fully on Wendy and what became of her after the adventures in Neverland. The stories of women, fictional or not, have often been swept aside. But what might it have been like to have fantastical adventures as a young girl, and how might that affect someone as an adult?
In our story, Wendy, shaken by the untimely death of her husband, first tells her daughter Jane the Neverland stories as escapism, pure fiction. But each sibling begins to experience strange and vivid memories, forcing the question - could it all be real?
John, the eldest, is against all talk of it, going so far as to seek full custody of Jane when he thinks Wendy is losing her mind. Michael, the youngest, tries to keep the family together, but is unsure what to do with his memories of flying. Tootles, the adopted Lost Boy, has always harbored a secret love for Wendy. It’s everyone against John, until he, too, finally remembers their childhood adventures. With it, the pain of remembering that Wendy always left him behind. He and Wendy must figure out how to salvage their adult relationship, amidst everything that came before.
The show plays with the contrast between the harsh realities for women in the Edwardian age and the freedom Wendy felt with Peter Pan. Neverland is only present on stage through characters’ memory, and the audience is never quite sure - until the end - if any of it truly happened. By the time Peter does come back, he is no longer the salve she wanted him to be; he isn’t able to fix anything. It is largely through the influence of the suffragettes that Wendy is able to decide what kind of a woman she will be.
With a lush, orchestral score that utilizes harmony both adventurous and accessible, THE LOST GIRL examines how loss colors our lives and galvanizes us to change. Ultimately, it’s is about reclaiming the right to have adventures at any age.
Winner, 2020 Florida Festival of New Musicals (pushed to 2021 due to Pandemic)
Winner, 2019 Viterbo New Works Festival
Winner, 2015 Buck Hill Skytop Music Festival
Winner, 2015 Players Club Staged Reading, Steinhardt School of Music, NYU
2013 Collaborative Development Program Workshop, Frederick Loewe Theatre, NYC
2020 Finalist, Imagen New Works @ MSU
2012 Finalist, Rhinebeck Writers Retreat
Set in 1909 London against the backdrop of the Suffragette Movement, THE LOST GIRL is about integrating our past into our present and deciding who we want to be moving forward. For whatever reason, no story about Peter Pan has ever focused fully on Wendy and what became of her after the adventures in Neverland. The stories of women, fictional or not, have often been swept aside. But what might it have been like to have fantastical adventures as a young girl, and how might that affect someone as an adult?
In our story, Wendy, shaken by the untimely death of her husband, first tells her daughter Jane the Neverland stories as escapism, pure fiction. But each sibling begins to experience strange and vivid memories, forcing the question - could it all be real?
John, the eldest, is against all talk of it, going so far as to seek full custody of Jane when he thinks Wendy is losing her mind. Michael, the youngest, tries to keep the family together, but is unsure what to do with his memories of flying. Tootles, the adopted Lost Boy, has always harbored a secret love for Wendy. It’s everyone against John, until he, too, finally remembers their childhood adventures. With it, the pain of remembering that Wendy always left him behind. He and Wendy must figure out how to salvage their adult relationship, amidst everything that came before.
The show plays with the contrast between the harsh realities for women in the Edwardian age and the freedom Wendy felt with Peter Pan. Neverland is only present on stage through characters’ memory, and the audience is never quite sure - until the end - if any of it truly happened. By the time Peter does come back, he is no longer the salve she wanted him to be; he isn’t able to fix anything. It is largely through the influence of the suffragettes that Wendy is able to decide what kind of a woman she will be.
With a lush, orchestral score that utilizes harmony both adventurous and accessible, THE LOST GIRL examines how loss colors our lives and galvanizes us to change. Ultimately, it’s is about reclaiming the right to have adventures at any age.