
EXCLUSIVE: Producer Charlie Lyons and director Jay Russell, who’ve teamed on The Water Horse and Ladder 49, have partnered with Homeland actor Tim Guinee to bring the famed noir short story Rear Window (It Had To Be Murder) to the Broadway stage. The trio worked for two years to land theatrical stage rights to the 1942 story by Cornell Woolrich, which most famously was turned into the classic 1954 Alfred Hitchcock thriller. James Stewart played the wheelchair-bound photographer who spies on his neighbors and believes he has witnessed a murder from his window. Although Broadway rights in this story have been repeatedly sought over the years from the Sheldon Abend Revocable Trust and its predecessors, this is the first option ever granted. The deal was negotiated on behalf of the producers by APA and their attorneys Jackoway Tyreman.
Lyons and Russell have collaborated for over a decade on a variety of projects including the motion picture Ladder 49 with John Travolta and Joaquin Phoenix. Guinee appeared in Ladder 49, where he met Lyons and Russell. Guinee currently is a regular on the new NBC series Revolution.
“This is a tremendously exciting project,” said Lyons. “We are assembling a world-class team of artists to bring this timeless thriller to the stage.” Russell adds, “Woolrich’s story is deliciously dark and edgy and our plan is to make it brand new all over again.”
Lyons’ current Broadway show Bring It On: The Musical has extended its run at the St. James Theatre through December 30.


You know the moment where the James Stewart character sings about his life of sorrow is a show stopper.
Seriously, though, this is great material for a non-musical production that could really work. How well that sells on current broadway is hard to know.
Jay Russell needs to do another fire in a building themed film. Ladder 49 was decent.
The original screenwriter created out of whole cloth much of what you see on the screen. It will be interesting to see what is left when his material is removed.
“Rear Window” is a cinematic film about theatrical. Very tough to pull off it seems to me. Won’t be a naysayer but Grace Kelly’s face in slow motion as framing device for overall narrative impact and effect? If you cut to the chase (I’m submitting) there’s the challenge in essence. Those close-ups are so riveting. Bear in mind that “The 39 Steps” – projection-heavy on Broadway – was played for laughs.
¡Congratulations Tim!