Reviewed by David Roberts for Theatre Reviews Limited

"Peter Pan" -- An Adult Docudrama

"Peter Pan" has arrived in Manhattan and all is well. Almost everything about this touring production is well crafted and New Yorkers and visitors to the City would be advised to see the musical before its scheduled January 3 close.

There is very good acting here. Cathy Rigby's athletic Peter Pan is a joy to watch whether the boy who wouldn't grow up is flying high or earth bound. Ms. Rigby's voice is not strong, but her interpretation of the role is so on target, that one easily forgives the less than perfect vocal ability. The entire Darling family is portrayed well with English accents in place and, for the most part, consistent throughout. All the other actors in all the other roles are more than adequate, many outstanding. I liked Paul Schoeffler's somewhat laid back Captain Hook because it is so much easier to see in this fantasy character of Hook the alter ego father/parent Mr. Darling also played by Schoeffler.

And speaking of alter egos.... The older I get the more convinced I am that "Peter Pan" is a very adult musical or, at least, a musical based on a very adult original play. I would place Barrie's work with Lewis Carroll's"Alice in Wonderland" and A.A. Milne's "Winnie-the-Pooh." "Peter Pan" is full of adult concerns as well as the dreams of children and their fear of growing up. Michael Darling's (Drake English) line to his mother (Barbara McCulloh), "I hope I didn't wake you when I was born," is both the innocent, naive comment by a young boy and, from the adult point of view, a deeply profound comment about the impact children feel (most non-consciously) about the impact their birth has upon the life of the parent. And when Peter Pan says that "children know so much more now, they don't need fairies, his comment speaks volumes about the loss of innocence and the risks associated with coming of age. The three acts and the three main "scenes" of Nursery, Neverland, and Pirate Ship are at the deepest level the playing out of significant psychological landscapes in human development. We all need to hear stories and learn to tell our own stories. We know that "thinking lovely thoughts" can transport us from despair to hope, perhaps even heal our bodies and souls. And wouldn't it be wonderful if our deepest fears came with a warning like Hook's "ticking" crocodile? Everyone's out to "get" everyone else in Neverland (which is not a gentle place at all!) and if one contemplates too much Tinkerbell's jealousy of Wendy (Elisa Sagardia) and the resulting order to shoot her after she has been chosen the "mother" of the island children, one might re-enter therapy for a fine tuning! And Tootles' (Aileen Quinn) wanting to be the father is a wonderful metaphor for the individual's life-long search for identity.

Peter Pan's wish to "never grow up" and be captured by adulthood resonates with almost everyone's desire to maintain their youth and freedom and when Peter returns "many, many years later" to visit (the now adult) Wendy, audience members can become tearful about the passing of time, the remembrance of things past, and the thoughts of fantasies and dreams left somewhere unfulfilled.

So, this is a show for adults and for children! While we adults are busy taking stock of out lives, our children can revel in the sheer joy of the ageless young boy who is able to overcome all evil, find in his youth "joy and freedom," and, finally, lead every generation into that place of self- acceptance and belonging.

"Peter Pan" at the Marquis is well directed by Glenn Casale. There are times when I would like the choreography to be executed more exactly, especially since this particular production has been on tour and everything should be in place. The lighting is good and the flying (ZFX, Inc.) is amazing! Only the sets, though functional, seem a bit worn and not up to the high standards of the rest of the production. Finally, my Neverland wish is that there were some way to substitute a "rival gang" (or something!) for the Native American sequences. This is not an issue of political correctness (though I have no problem with that term or concept); rather, it is an issue that much time has passed since Sir Barrie wrote his play. We have learned much about ourselves as a diverse people. We have learned about our racism and our stereotyping and the effect it has upon people and nations. This is an area where it is better to "be grown up" and make some creative changes in the lyrics, music, and book of this enduring and endearing musical.

Reviewed on Tuesday, November 24, 1998

"PETER PAN"

A Musical production of the play by Sir James Barrie. Lyrics by Carolyn Leigh. Music by Moose Chaplap. Additional lyrics by Betty Comden & Adolph Green. Additional music by Jule Styne. Directed by Glenn Casale; scenery designed by John Iacovelli; costume designed by Shigeru Yaji; lighting designed by Martin Aronstein; sound designed by Francois Bergeron; flying illusions by ZFX, Inc.; choreography by Patti Colombo; musical direction and vocal arrangements by Craig Barna. Presented by McCoy Rigby Entertainment, The Nederlander Organization, and La Mirada Theatre for the Performing Arts at the Marquis Theatre, 1535 Broadway between 45th and 46th Streets, through Sunday, January 3. Tickets priced at $25-$75 are available through Ticketmaster at 212-307-4100.

WITH: Cathy Rigby (Peter Pan), Paul Schoeffler (Mr. Darling/Captain Hook), Elisa Sagardia (Wendy Darling), Barbara McCulloh (Mrs. Darling/Mermaid), Michael Nostrand (Mr. Smee), Dana Solimando (Tiger Lily), Drake English (Michael Darling), Chase Kniffen (John Darling), Scott Bridges (Slightly), Doreen Chila (2nd Twin), Janet Higgins (1st Twin), Aileen Quinn (Jane), Alon Williams (Curly), Kim Arnett, Michelle Berti, William Alan Coats, Randy Davis, Jeffrey Elsass, Casey Miles Good, Michael Kirsch, Buck Mason, Brian Shepard, Roger Preston Smith, Tony Spinosa, and Sam Zeller.

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