The excellent production of Peter Pan currently visiting the Fox Theatre is not entirely the same as the one that premiered on Broadway in 1954. The version on tour has a new period, a revised book, and up-to-date technology.
The basic story is the same as before. A boy who can fly named Peter Pan comes back to Darling family’s home to retrieve the shadow he lost on his previous visit. He encounters Wendy Darling and her brothers, John and Michael.
Wendy is at an age where she is beginning to be interested in boys, but Peter is oblivious to her romantic signals. He lives in Neverland, where he never grows up. Wendy agrees to go away with him to serve as mother for Peter and his cohort of orphaned boys. After teaching Wendy and her brothers to fly, Peter takes them all to Neverland. There they have adventures involving pirates led by Captain Hook and indigenous people led by Tiger Lily.
Sir J. M. Barrie’s original play premiered in the early 20th century. The new version takes place in our time. The change in setting is evident as soon as the curtain goes up. The furnishings in the Darlings’ house are modern, not Edwardian. The children’s babysitter is a teenager wearing headphones, not their dog, Nana. The Darlings’ personalities are contemporary, not quaint.
The show’s book was adapted by Larissa Fasthorse, a member of the Sicangu Lakota Nation and a 2020 MacArthur Fellow. In 2023, she became the first female Native American playwright to have a play produced on Broadway.
Her revisions include eliminating the original play’s demeaning treatment of indigenous characters. They are no longer “Indians.” Rather, they are “a collection of Indigenous individuals, each the last of their culture, from around the globe.“ This recharacterization prevents harm not only to indigenous people but also to audiences, who are no longer exposed to invidious stereotypes.
The changes in the new version include a scene of feminist bonding between Wendy and Tiger Lily as well as additional lyrics by Amanda Green. Her father, Adolf Green, and Betty Comden wrote most of the lyrics for the 1954 version in collaboration with composer Jule Styne. The show’s original songwriters were lyricist Carolyn Leigh and composer Morris (Moose) Charlap, who wrote “I’ve Gotta Crow,” “I’m Flying,” and “I Won’t Grow Up.”
Young audience have always loved the musical’s flying, but it is more thrilling than ever in the acrobatic sequences choreographed by Paul Rubin. The coordination with David Bengali’ projections is stunning. The projections also provide vivid, sometimes animated backgrounds for the gorgeous scenery designed by Anna Louizos. Sarafina Bush’s costumes are gorgeous, too.
The show was originally directed, choreographed, and adapted by Jerome Robbins. The touring version features astute direction by Lonny Price and sparking choreography by Lorin Latarro. Jonathan Marro conducts the fine orchestra. The exciting direction of the elaborate fight scenes is by Rick Sordelet and Christian Kelly-Sordelet.
Nolan Almeida’s exuberant portrayal of Peter captures his love of adventure. Captain Hook’s egomania has delightfully shameless swagger in the performance by Cody Garcia, who doubles effectively as Mr. Darling. Hawa Kamara’s Wendy is admirably strong and engaging. On opening night, Bailey Frankenberg (substituting for Raye Zaragoza) was a courageous, determined leader as Tiger Lily.
Peter Pan continues through November 24 at the Fox Theatre, 527 North Grand Boulevard.
—Gerry Kowarsky
Photo by Matthew Murphy
Top row from the left: Nolan Almeida as Peter Pan, Cody Garcia as Captain Hook, Hawa Kamara as Wendy in Peter Pan.
