PETER PAN


You’d have to be the most diehard of purists not to cheer the 70th-anniversary revisal of the oft-revived Broadway-to-TV classic Peter Pan, now delighting children and adults of all ages at the Pantages.

To begin with, Native American playwright Larissa FastHorse’s revised book updates J.M. Barrie’s now creaky 1904 play to the 21st century, though its references to smartphones and Snapchat aren’t the adaptation’s most radical innovation.

That honor would go to seventeen-year-old Orange County triple-threat Nolan Almeida as the boy who refused to grow up, casting that would seem a no-brainer to anyone unfamiliar with previous productions but not to those who came of age in the second half of the 20th century and have only seen the role played by female performers of a certain age, an early introduction to the phenomenon called “suspension of disbelief.”

Gone too is the stereotyping of Tiger Lily and her band of “Indians” (as a song now relegated to the cutting room floor referred to them), and if the Banks family has pretty much always been of the lily white persuasion, the 2024 tour ensures that adults and children of all colors will see themselves represented on stage.

What remains, and what keeps audiences coming back revival after revival after revival, is the tale that has enchanted theatergoers since Mary Martin first took flight back in 1954, the songs (music by Morris “Moose” Charlap and Jule Styne and lyrics by Carolyn Leigh, Betty Comden, and Adolph Green), the wonders of Neverland, the villainy of Captain Hook and his band of wacky pirates, the antics of Peter’s fellow fun-loving “lost boys,” and the flying, the flying, the flying.

“Additional book” writer FastHorse doesn’t just update the musical’s time frame and reconceive Tiger Lily and her tribe as “individuals from different cultures, all of whom are the last of their kind and have come to Neverland to preserve their traditions,” her revised book is a whole lot funnier than Barrie’s rather stodgy original.

What is missing is “Ugg-A-Wug,” a showstopper I have described as “the most spectacular eight minutes of dancing you will witness this or any year,” its place taken by “Friends Forever” from the 1961 Broadway flop Subways Are For Sleeping (Styne’s catchy melody given new lyrics by Amada Green), a rousing full-cast production number that showcases Lorin Latarro’s engaging choreography but doesn’t come close to “Ugg-A-Wug” where audience response is concerned (and really does feel like it’s from another musical).

But this is a minor gripe compared to how thoroughly captivated I was throughout the show, in particular by the charisma-blessed Almeida’s high-flying triple-threat star turn as Peter.

Not only that, but under Lonny Price’s inspired direction, Cody Garcia milks every dastardly Captain Hook moment to deliciously nefarious perfection (in addition to playing his stuffy opposite Mr. Darling), Hawa Kamara makes for the most enchanting of Wendys, USC grad Shefali Deshpande is maternal warmth personified to preteen charmers William Foon and Camden Kwok as John and Peter before morphing into one of Tiger Lily’s band, Raye Zaragoza plays the role of tribal leader to irrepressible effect, and Kurt Perry is a hilariously hoot as Hook’s right-hand sycophant Smee.

Ensemble members Charles Antenen, Zaynn Arora, Jonah Barricklo, Christina Hélène Braa (The Croc, Jane), Levi Chrisopulos, Jordan T. DeLeon, Brandon Gille, Ryan Perry Marks, Michael Marrero, Kenny Ramos, Hannah Schmidt (Liza), and Kiara Williams do sensational double and triple duty from start to finish as Lost Boys, Pirates, and Tribe members.

Paul Rubin once again proves himself a flight choreographer extraordinaire as Peter and the three young Darlings not only soar through the air at breakneck speed but turn aerial somersaults when mere vertical and horizontal flight is not enough.

Peter Pan On Tour looks absolutely gorgeous thanks to scenic designer Anna Louizos and projection designer David Benagali’s fantastical Technicolor sets and animated video backdrops, and Sarafina Bush’s Fantasyland costumes and J. Jared Harris’s matching wig, hair, and makeup designs are just as magical, especially under Amith Chandrashaker’s vibrant lighting.

Music director Jonathan Marro conducts and plays keyboards in Peter Pan’s Broadway-caliber 15-piece orchestra, with sound designer Kai Harada ensuring a pitch-perfect mix of instrumentals, amped vocals, and assorted effects.

Last but not least, Rick Sordelet and Christian Kelly-Sordeleta have choreographed a number of thrilling swordplay and fight sequences.

Matt Cowart is associate director and Travis Waldschmidt is associate choreographer. Micah Turner Lee and Reed Epley play John and Michael at certain performances. Tony Collins, Bailey Frankenberg, Leo Gallegos, and Cheyenne Omani are swings.

Casting is by ARC/Duncan Stewart, CSA and Patrick Maravilla with additional casting by Michael Donovan, CSA, and Richie Ferris, CSA. Megan Belgam is production stage manager and Kendall Stevens is assistant stage manager. Luke Meyer is company manager.

 As much as I’ve enjoyed past Peter Pans (in particular Cathy Rigby’s magnificent return as the titular boy back in 2012), J.M. Barrie’s book has always been a bit too old fashioned for my tastes, and having seen Gavin Juckette play the role to perfection at Candlelight Pavilion in 2019, I was more than primed to see Nolan Almeida undertake the role.

I may still wish that the creative team found a way to keep “Ugg-A-Wug” around for showstopping effect, but even without it, Peter Pan at the Pantages is unadulterated musical theater bliss

Pantages Theatre, 6233 Hollywood Blvd, Los Angeles.
www.broadwayla.org

–Steven Stanley
July 17, 2024
Photos: Matthew Murphy for MurphyMade

 

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