Dwayne Johnson and Stephen Merchant Adapt Wrestling Film Fighting With My Family into Stage Musical

When Dwayne Johnson and Stephen Merchant announced their plan to turn the 2019 wrestling biopic ‘Fighting With My Family’ into a stage musical, the news rippled far beyond the glitz of Hollywood or the roar of WWE arenas. It landed with particular resonance in communities where the intersection of sports, storytelling, and local pride runs deep—places like San Antonio, Texas, where the Alamodome has hosted countless wrestling spectacles and where families gather not just for the sport, but for the shared experience it represents. This adaptation isn’t merely a theatrical experiment; it’s a cultural echo that could amplify how we view grassroots athleticism, family-driven entrepreneurship, and the transformation of personal narratives into public art—especially in a city known for its vibrant Tejano music scene, historic missions, and passionate sports culture.

The original film, directed by Merchant and starring Florence Pugh as WWE superstar Paige (Saraya Bevis), chronicled the true story of a close-knit British wrestling family striving to break into the big leagues. Johnson portrayed himself, both as a mentor figure and a producer through his Seven Bucks Productions banner, alongside partner Dany Garcia. What made the story compelling wasn’t just the in-ring action, but the raw, emotional journey of a young woman navigating identity, ambition, and belonging—all set against the backdrop of a tight-knit, unconventional family business. As Merchant reflected during development, he had always envisioned the film as a musical: “a young woman from the ‘chorus line’ fighting to get her big break, surrounded by theatrical, larger-than-life characters and huge sweeping emotions.” He approached each wrestling match like a dance number, building toward a show-stopping finale—a vision now being realized with book and lyrics by Olivier Award-winning playwright Jon Brittain and a new score by Miranda Cooper and Nick Coler.

This transition from screen to stage carries implications far beyond entertainment. In San Antonio, where the performing arts thrive at venues like the Majestic Theatre and the Tobin Center for the Performing Arts, such adaptations often spark renewed interest in local theater programs, youth drama initiatives, and community-based storytelling projects. The city’s strong military presence—anchored by Joint Base San Antonio—also means many families understand the themes of sacrifice, loyalty, and reinvention central to Paige’s journey. The musical’s development through Tilted Musicals in collaboration with Birmingham Hippodrome (UK) and Seven Bucks Productions highlights a growing transatlantic pipeline for stage adaptations of sports-related narratives, a trend that could inspire similar partnerships involving Texas-based institutions like the San Antonio Symphony or the Guadalupe Cultural Arts Center.

There’s also a socio-economic dimension worth noting. Productions like this musical often stimulate ancillary economies—hospitality, retail, and local hiring—when they tour or host workshops. For a city that hosts major conventions and events year-round, the potential for a wrestling-themed musical to draw cultural tourists interested in both performance and sports history is tangible. Imagine school groups from South San Antonio ISD or North East Independent School District attending matinee performances that blend physical theater with discussions about perseverance and authenticity—lessons that resonate just as much in a classroom as they do in a wrestling ring.

Given my background in community-driven storytelling and cultural analysis, if this trend impacts you in San Antonio, here are the three types of local professionals you should consider connecting with:

• Arts Education Coordinators: Look for individuals or teams affiliated with local school districts, nonprofit youth organizations, or municipal arts departments who specialize in integrating performance arts into curricula. Prioritize those with experience in project-based learning, trauma-informed instruction, or partnerships with touring theater companies. They can help adapt themes from productions like this musical into workshops that explore identity, resilience, and family dynamics through movement and dialogue.
• Cultural Heritage Liaisons: Seek professionals working with institutions such as the San Antonio Office of Historic Preservation, the Institute of Texan Cultures, or the Briscoe Western Art Museum who focus on connecting contemporary narratives to regional identity. Ideal candidates will have a track record of bridging sports history, Latino cultural expression, and intergenerational storytelling—especially those familiar with the city’s deep ties to lucha libre and Mexican-American wrestling traditions.
• Community Theater Developers: These are producers, directors, or facilitators associated with groups like The Public Theater of San Antonio, Jump-Start Performance Co., or the San Pedro Playhouse who specialize in developing new works rooted in local experiences. When evaluating them, consider their history of adapting real-life stories for the stage, their commitment to diverse casting, and their ability to collaborate with sports organizations, veterans’ groups, or family-run businesses for authentic input.

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