More than a few grandparents had their grandchildren in tow at the Music Circus production of “Peter Pan” (at the Wells Fargo Pavilion) last month, just as their grandparents might have sat with them in front of a TV when the musical was broadcast some sixty years earlier. Mary Martin starred as the title character in those productions, essentially defining the role and the manner of portraying it.
In last month’s Music Circus production, ably directed by Glenn Casale, Jenn Colella followed Ms. Martin’s lead, complete with the cock-a-doodle-doo shouts of bravado and the defiant attitude against any suggestion of becoming a “grown up.” Mr. Casale made full use of the theater’s technical capabilities, with any number of flying entrances and exits by Peter and the Darling children he befriends after returning to their home to find his shadow (lost when Mrs. Darling closed a window too quickly as Peter was flying away on his first surreptitious visit).
Yes, this is a play for children, with a fantasy land called Neverland that houses pirates, Indians (so-called in the script before Native American became the preferred term of identification), and even a mermaid, and a fairy, Tinker Bell, who will perish in the play’s second act unless young people in the audience cheer for her. (On the night we attended, happily, they did.)
Once Peter escorts Wendy, John and Michael (the Darling children) to Neverland, he has to contend with the evil Captain Hook, who is one nasty dude, albeit he is assisted by a band of none-too-swift mates. And then there are those Indians, who end up joining forces with Peter and his cohorts, the Lost Boys, who want and need a mother, which the pre-adolescent Wendy happily becomes.
One of the clever ironies built into the script (book by Sir J. M. Barrie, music by Morris Charlap, lyrics by Carolyn Leigh) has Peter seeking assurances from Wendy that she and he are only pretending to be the mother and father of the boys. Reassured, Peter proceeds to pretend he is grown up even as the audience is expected to pretend to believe that he can avoid that fate merely by denying it.
But this isn’t a play that expects a serious analysis of its logic. Thus, the clock that the crocodile swallowed along with Captain Hook’s hand continues to tick-tock loudly every time the beast comes near. (Nice costume for the reptile and for Nana, the Darling’s house dog who doubles as the children’s nanny, with costume design credited to Marcy Froehlich).
And thus is Tinker Bell able to save Peter from the poison Hook leaves for him by drinking it herself (fairies can do anything, apparently), only to then need to be saved by the applause of children in the audience when Peter calls for it.
In addition to Ms. Colella, who was excellent, the cast featured a strong performance from Shannon Stoeke as Mr. Darling and Captain Hook. (Mr. Stoeke was the understudy for Paul Schoeffler who was apparently unable to perform on the night we attended, although no announcement was made to that effect, other than an insert in the printed program.)
Michael Nostrand, as Smee, Hook’s top assistant, excelled in his comic role. And Lori Eve Marinacci, as Wendy, also performed well. But we were most taken with young Joshua Davis as Michael the younger Darling son. He more than held his own in his scenes with the adult members of the cast.
Regarding the music and choreography, the highlight of the show was the “Ugg-a-Wugg” number that opened the second act. It was a real show stopper, with the entire cast engaged in a rhythmic drum beat (led by Ms. Colella and Desiree Davar as an athletic Tiger Lily). The number featured some excellent choreography (credited to Patti Colombo) and fine support from the 12-member orchestra (particularly Brian Kendrick on drums and percussion). It was conducted by musical director Jeff Rizzo.
Other highlights included “I Gotta Crow” and “Neverland” (Ms. Colella), “I’m Flying” (Ms. Colella, Ms. Marinacci, Joshua Davis and Aiden Winn as older brother John), “A Princely Scheme” and “Hook’s Waltz” (Mr. Stoeke), and “I Won’t Grow Up” (Ms. Colella, Ms. Marinacci and the Lost Boys).
“Peter Pan” had not been performed at the Music Circus since 1986. (It was performed in the Broadway series at the Community Center Theater in 2012.) It’s a show for children, and for would-be adults who would rather not grow up, and it is probably deserving of a reprise about once every generation.