The Peter Pan Touring show opened at the Pantages Theatre in Los Angeles and ran from July 09 to July 24, 2024. The elegant Deco designed theatre, in the heart of Hollywood welcomed audiences of all ages to experience the hopefully uplifting story of Peter Pan. It moves to the Segerstrom Theatre for the Arts in Costa Mesa on August 6 – 18th.
Peter Pan adapted from a story by J.M. Barrie, written in 1911, was a tribute to his brother who died as a child. This narrative inspired Barrie’s belief that his brother now would be eternally young. So, to fully focus this message of love and freedom, it needed to be examined and understood.
This production however, in an effort to honor color-blind casting and Native American history focused on the cry for, diversity, perhaps clouding the mission of the show itself. Certainly, the suffering of intolerance is no stranger to societies down through history. And clearly the updated book by Larissa Fasthorse (Sicangu Lakota Nation) is a teaching moment to sensitize the audience, redirecting important and often ignored lessons of respect for valued cultural lessons of native peoples. As the pendulum swings there’s plenty of anger and retribution to go around, yet gratefully the theatre is the one place where social change can occur.
However, in regards to some of the elements of Peter Pan, the purpose swings so far as to slip into tokenism, then it becomes self-conscious in-your-face–force-feeding that goes beyond fabrication and believability. Is this production serving the story or the goals of the re-interpreters. In the theatre if less is more, this production clearly suggests more is too much. With its casting, its mugging, its pushing, it tries to vanquish the years of insensitive abuse without bringing audiences to catharsis, understanding or even caring. The story acts as imagined historical tidbits thrown into the mix. It is the job of the director, Lonny Price in this case, to clarify and unify how the entire production fits together and moves the audience based on the message the story hopes to communicate.
One of the basic complexities of the casting for this version was the Darling family who dared to defy reason (ARC/Duncan Stewart-casting). It consisted of a doting Indian mother, Shefali Deshpande, the White Father (uncredited), the adorable Asian-mix son, Ree Epley as Michael, an Asian/American son, William Foon as John, and the black daughter Wendy played by Hawa Kamara, a lovely 20ish year-old, trying to play an innocent 12 year old, quite unsuccessfully.
Perhaps “Color blind” is not the goal here, Perhaps the goal is to re-appropriate real roles in an effort to unlock millions of personal stories that need to be told. Which means mining for depth, creativity and expertise to create new ideas and production.
This non-union, non pro, miscast and disappointing version was highly surprising, since the Pantages is a union house. It would probably be important to let the audience know that this and productions like the recent “Chicago” are actually training grounds for young inexperienced performers and supported mostly by union members and experts in sets, music, lighting and rigging. In other words, a kind of Big City Summer Stock, whereby families traveling miles, spending good hard-earned dollars to make sure kids can enjoy an evening or afternoon of inspiration, are actually inspired.
Recent revivals of Oklahoma and Peter Pan, (having seen all of them), cannot touch historically the DeMille’s production of Oklahoma with its unfortunate revival in 2022; and the genius of Jerome Robbin’s Peter Pan, the original director/choreographer that is replaced by a cross-purpose revival in 2024. Knowing the originators, surely they will be turning in their separate graves. Remembering Mary Martin in 1954, with such joy. Her beguiling portrayal of a young boy who did not want to grow up mesmerized all. Then came the brilliant Sandy Duncan’s Peter Pan in 1979, when Peter was set free to fly, moving onlookers to tears, and Cathy Rigby’s highly touted version, with audiences relishing every moment of good taste. So, in comparison, it is possible to say that this production was a disappointing self-conscious shell of itself.
However, there were some redeeming elements. The young heartful Nolan Almeida, Peter Pan, is charming with his physical awkwardness and appealing good looks. He has the seeds of good tuneful yet inexperienced vocal chops. His presence explodes as he lights up the stage with his charm and potential.
The lovely, well thought out and constructed sets by Anna Louizos expressed an aesthetic of keen colors and sense of nature, from forest to choppy seas, from Pirate ships to Victorian garret bedrooms with beautiful lighting by Amith Chandrashaker. The music by Jonathan Marro (Music Director) and John Mezzo (Music Coordinator) was professionally well done in every way, with Paul Kieve’s Tinker Bell Design adding a kinetic wonder to the scenes. Raya Zaragoza’s Tiger Lily was powerful both as a character, vocally, and as an adequate “mover.” She managed to guide the wayward lost boys to a new home. While Kurt Perry’s Smee is a free and sassy comic relief that follows Captain Hook (Cody Garcia), tall, slim, mustachio-ed character in black feathered hat, red Justaucorps jacket, knee high boots, scabbard and sword. With much potential, his over-the-top mugging and random actions clearly signal his inexperience. Never-the-less he could be engaging and fun.
On “Reddit,” an audience member’s astute comment about this production says it all:
“The show doesn’t go anywhere… You don’t have time to get to know or care about any of the characters…. You will not be moved … sad, happy, eye-opening… nothing!
Based on the implicit message of freedom-to-do-anything one pleases, this Peter Pan appears uncontrolled with lacking in focus. It bounces the audience from one character to another, then out the door, without full resolution.
Peter Pan moves to the Segerstrom Theatre for the Arts in Costa Mesa on August 6 – 18th. For more information and to purchase tickets, please visit their website.
For more information about the Hollywood Pantages Theatre, please visit their website.
Written by Joanne DiVito for LA Dance Chronicle.
Featured image: Peter Pan – “I Won’t Grown Up!” – Nolan Aleida as Peter Pan Center and the cast of Peter Pan – Photo by Matthew Murphy.