The Peter Pan musical took flight at the Segerstrom Center for the Arts in Costa Mesa, California, on opening night, Tuesday, August 6th, 2024, causing an eruption of unrestrained giddiness and laughter among the packed audience. The theater was adorned with children of all ages, families, and groups of adults, with some attendees even donning elaborate Peter Pan character costumes, all adding to the magical atmosphere. The palpable joy emanating from the audience as they interacted with each other and indulged in the production, transported everyone back to their childhood, marveling at the enchanting flying performers and the timeless story of Peter Pan, who has captivated audiences since 1904. This 2024 North American touring Peter Pan musical, rewritten by Larissa FastHorse and directed by Lonny Price, artfully blends the classic tale with contemporary elements that resonate with today’s youth. Incorporating modern language, a dynamic moving screen backdrop, and seamless scene transitions bridge the gap between the past and present, crafting a fresh and relevant Peter Pan for a new generation.
Peter Pan – “I’m Flying” – From L Micah Turner Lee as John, Reed Epley as Michael, Hawa Kamara as Wendy, Nolan Almeida as “Peter Pan” – Photo by Matthew Murphy for MurphyMade.
In the first act, viewers were captivated by scenes that beautifully translated the challenges of growing up in today’s society, such as a messy kid’s room, a bubble machine, discussions about social media, and the pressures of academics and future success. Director Lonny Price’s clever handling of the pacing in music, dialogue, songs, and scenes ensured seamless transitions and engaged the audience from start to finish. The amazed spectators were filled with wonder when Peter Pan flew into the children’s room and above the stage. The mesmerizing flying sequences and the enchanting background projections enhanced the enchanted atmosphere.
Peter Pan – “I Won’t Grown Up!” – Nolan Aleida as Peter Pan Center and the cast of Peter Pan – Photo by Matthew Murphy for MurphyMade.
NETworks is the producer of this production and states in the program that proceeds are shared with the Great Ormond Street Hospital in London. This production’s opening night cast shined with highlights of emerging talent, including seventeen-year-old Nolan Alemeida’s captivating performance as Peter Pan. He displayed seasoned acting skills, vocal endurance, and emotional depth, particularly during the Tinkerbell fading portion. Hawa Kamara’s portrayal of Wendy was endearing. Kamara portrayed a grounded character, but she could have benefited from a sense of wonder when meeting a boy who could fly and her arrival in Neverland. William Foon’s portrayal of John was delightful, and he genuinely enthusiastically approached his scenes. Camden Kwok was utterly adorable and illuminated the stage as Michael with every song and gesture. Cody Garcia’s portrayal of Captain Hook was flamboyantly fabulous, incorporating high kicks and ballet steps including a nicely placed back cabriole. His accent does need some work as it fluctuated between a Russian and Scottish intonation. The musical added humor with slapstick physical and verbal comedy, primarily shown through Garcia’s Captain Hook’s delivery, Kurt Perry’s lovable character as Hook’s sidekick Smee, and the blundering band of pirates.
Nolan Almeida as Peter Pan (center) and the cast of Peter Pan – Photo by Matthew Murphy for MurphyMade.
The lighting design by Amith Chandrashaker was top-notch and well-timed, providing an expressive overall fascination in the performance. Paul Rubin choreographed and unified the flight sequences, which were picturesque and impressively executed. The musical score was preserved by the original composer Morris Charlap and supplemented by songwriter Jule Styne, with lyrics by Carolyn Leigh and additional lyrics by Betty Comden and Adolph Green. The costumes were authentic and pleasingly detailed by Sarafina Bush. The dance choreographic sections by Lorin Latarro, unfortunately, did not enhance the ensembles and lacked variation in directional sequences. However, the turtle tap dance segment was rhythmically placed, delightfully connective, and entertaining.
Raye Zaragoza brought a strong and contemporary depiction of Tiger Lilly with her deep vocal register and warrior stances. There has been controversy recently surrounding the portrayal of Native Americans in original Peter Pan works. This version, however, glossed over those details and did not focus on creating conflict or evoking strong emotional reactions. There was not an emotional arc or character connection that made you feel sad or embrace a deeper connection. Instead, the storytelling aimed to provide constant happiness and instant gratification, capturing the young audience’s attention using relevant technology and willful pleasant characters.
“Peter Pan” – Neverland – Nolan Almeida as Peter Pan – Photo by Matthew Murphy.
Peter Pan is the embodiment of a boy who never wants to grow up and the motto for this show is, “I won’t grow up.” The production does just that by keeping the scenarios light-hearted and drama-free. It was empowering to see the ladies’ sword flight and use intelligence to dominate a scene. The additional non-real characters featured are charming elements such as a playful crocodile, a friendly moon, an unaware babysitter, and a whimsical Tinkerbell. The sets move and connect with the background all while moving at a quick pace, engaging the audience, and crafting a marvel for both children and the young at heart.
Peter Pan continues through Sunday, August 11 at the Segerstrom Center for the Arts. For more information and to purchase tickets, please visit their website.
Written by Alice Alyse for LA Dance Chronicle.
Featured image: Peter Pan – I Gotta Crow – L-R Nolan Almeida as Peter Pan, Hawa Kamara as Wendy – Photo by Matthew Murphy.
