By Carbonite of Soda, Go | "Peter Pan" @ BIH/Pantages

[cahwyguy]

What do you do when you have a beloved music that has grown increasingly problematic in portions of the story over the years? This is an increasingly common problem for revivals, as dated and stereotypical portrayals of women, minorities, and LGBTQ folks abound. For example, you see few revivals of the musical Thoroughly Modern Mille for that very reason. The whole “white slaver” plot from the movie, which they tried to rework in the musical, is still a major problem. You have a similar problem in Adrift in Macao. Perhaps there is no better example of that than the classic musical Peter Pan, based on stories written in the early 1900s, with the first major stage adaptation in 1954 that had loads of problems even getting to the stage (evidenced by the credits: Myrics by Carolyn Leigh, with additional lyrics by Comden and Green; Music by Moose Charlap, with additional music by Jule Styne, and a book based on Sir J. M. Barrie’s play adapted by Jerome Robbins).

The 1954 Peter Pan has loads of problems into today’s context. Nevermind the fact that it traditionally tells the story of kids in 1900s London (which kids of today wouldn’t understand—I mean, boys in nightdresses?). There is the dated portrayal of women’s roles solely as mothers and caregivers, doing whatever the men say. But the biggest problems are the Indians (and I use that term specifically, as that’s what they were called in those days). The portrayal uses gibberish language and savage imagery. There are references to an Indian Princess fighting off randy braves with a hatchet. How to fix the underlying timeless story about growing up (and refusing to grow up), save the great music as much as possible, while removing the cringe.

An attempt was made to do this in the 2014 Live TV version of Peter Pan. It had other problems (cough, Christopher Walken Z”L, who seemed to be presaging Joe Biden’s low-energy debate performance). But the reworks were interesting. They added some songs from other Comden/Green/Style shows, notably “Vengence” (reworked from “Ambition” from Do Re Mi), “Wonderful World Without Peter” (reworked from “Somethings Always Happening on the River” from Say Darling). They got rid of the “Mysterious Stranger” song (which never made sense), and brought back in the cut “When I Went Home” to explain why Peter never returned. They reworked the problematic “Ugg-a-wug” into “True Blood Brothers”, using a Wyandotte word instead of the gibberish, while (sigh) retaining the stereotypical music and portrayals. They also increased Captain Hook’s role, and brought back the Mermaids. But the changes made in this rework ultimately failed, and didn’t become part of the Pan Canon.

Last night, at the Pantages, we saw yet another attempt at revising Peter Pan for a new generation. This version features a reword by Larissa Fasthorse, and additional lyrics by Amanda Green, Adolph Green’s daughter. I thought, for the most part, they worked (although they are sure to anger the traditionalists and the crowd that protests anything they perceive as “woke”). Let’s start with the simple, and work our way to the cigar store Indian by the door.

This production used ethnically-diverse casting, and (horror of horrors!) broke the traditional casting of an older white woman as Peter to use a 17-year old guy in the role. The kids were equally diverse (and clearly adopted, which makes the end of the story work much better): A white father and an East-Indian mother adopt a black girl, an asian boy, and a caucasian boy. I had no problem with this, although my wife noted tt Wendy being black created the question of the Mammy stereotype. Well, as they said in The Wiz, “You can’t win”. The casting of the Lost Boys and the Pirates was equally diverse. Notably, they kept the traditional duel casting of Mr. Darling and Captain Hook, and moved a wife to a member of the crew. It might have been more interesting (if these changes were being made) to move Mrs. Darling into the Smee role. They also eliminated the Nanny Dog (although it is referenced in the script), and created a babysitter who is too engrossed in cell phones and texting to make a difference in the plot.

Speaking of cell phones: They also updated the setting to the present day, and increased the agency of women. Mrs. Darling has a career in addition to her husband; and Wendy is driven and wants to go to medical school. In the scenes on Neverland, it is clear that Wendy has more agency and is clearly more than a stereotypical mother, fighting Captain Hook alongside the boys. Tinkerbell seems to have a much diminished role, but I don’t recall specifically how big her role was in the original.

I really liked the change in Peter: As a boy, he brings a different energy and playfulness to the role. The songs seem to work better with him, and he comes across as more genuine. They did keep the cut song “When I Went Home” to explain why he didn’t return.

This portrayal of Captain Hook made me think of Christian Bohle, and was generally strong and hammed up appropriately. The interactions with Smee were hilarious. They also added a reprise of “I Won’t Grow Up”, called “We Hate Those Kids” as the Act II, in front of the curtain, opener.

Now to the cigar store Indian in the room: How did they fix the Native American problem. Pretty much by getting rid of the problem. Gone were the Indian stereotypes (no headdresses, no feathers, no peace pipes, no drums). Gone was Ugg-a-wug, replaced by the song “Friends Forever” that used the melody from “Comes Once in a Lifetime” (Subways are for Sleeping). Tiger-Lily was given agency and made an equal of Peter, and each member of her “tribe” represented a different traditional people that had gone to Neverland to avoid extinction of their culture. I thought that worked, and worked well. I liked the stronger Tiger Lilly, and I liked the interplay with Wendy and Tiger Lilly.

What didn’t work? What I would call gratuitous changes to modernize words. One of my favorite exchanges in “Hook’s Waltz” is:  “Though little children love me, I′m told they play at Peter Pan and the strongest always chooses to be Pan. They force the baby to be Hook. The baby. That’s where the canker gnaws. No! By carbonite of soda, no!” But what did they change it to? “No, by Pepto Bismal, no!” WRONG. This was an intentional pun: bicarbonite ➝ by carbonite. The change didn’t work. A friend also noted that they changed “Slightly Soiled” to “Tumble Dry”—perhaps more modern, but less funny. There were also some jarring anachronisms in the updating, especially in the opening nursery scene.

But, overall, I really liked the changes, and I like this production. I think they got a lot of the overall notes right; their changes made things a lot less offensive (although surely they will annoy the traditionalists). It was funny. It was great for kids (although perhaps a bit long, but it was shorter than the original 3-act version). One thing that this tour has going for it is very strong casting. Nolan Almeida is outstanding as Peter (especially considering he is only a high-school junior). Hawa Kamara is great as Wendy, and I loved watching her facial expressions in response to Peter and his outdated attitudes. Raye Zaaragoza was so strong as Tiger Lily that I went out and bought her latest album.  Cody Garcia made a great Hook, playing off the audience, hamming it up, and seeming to channel more Christopher Bohle (as I noted) than Cyril Ritchard. I also liked Shefali Deshpande’s Mrs. Darling, although she faded into the background as a member of the pirate crew.

Special effects had weaknesses and strengths. The flying wires were a bit too visible, distracting from the effect, and it was clear when the cast would go to the side to get them on and off. The flying sequence, when combined with the projection graphics, was very strong for the flying over London scene. I also liked Tinkerbell, and thought I tried to see a wire, I just couldn’t. They did a lot less on the Pirate Ship for some reason; it only appears near the end.

The dancing was strong and athletic, and there were some funny dance scenes. I did enjoy the tap scenes, but I’m a sucker for good tap dancing.

As a side note: The production opened Friday, not Tuesday as scheduled. Our understanding is that this was due to an electrical problem that was created when the previous production moved out. That delayed the ability for the Pan production to move it. They moved in Thursday for the first show on Friday.

So, the ultimate question: Should you see this? If you don’t mind what is traditionally a children’s story: Yes. The changes work for the most part, and the performances are excellent. If you can’t stomach sitting through was is admittedly a show aimed more at the younger set, or if you take offence at changes from the traditional or color-blind casting, then stay home. You’ll be happier. Dredge up the Mary Martin production of Peter Pan on your favorite streaming service.

Peter Pan continues at the Pantages through July 28. Tickets are available through the BIH Website; discount tickets may be available through Goldstar Today Tix (although it looks like they only have the show in Orange County).

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Peter Pan. A musical based on the book by Sir J. M. Barrie, originally adapted by Jerome Robbins, additional book by Larissa Fasthorse. Lyrics by Carolyn Leigh; additional lyrics by Betty Comden, Adolph Green, and Amanda Green. Music by Morris (Moose) Charlap; additional music by Jule Styne. Originally directed and choreographed by Jerome Robbins. Directed by Lonny Price. Choreography by Lorin Latarro.

Cast (colors indicate performer/roles at our production; serif indicates cultures): Nolan Almeida Peter Pan; Cody Garcia Mr. Darling, Capt. Hook; Hawa Kamara Wendy; Raye Zaragoza Tiger Lily (Hohokam, Yamato); Shefali Deshpande Mrs. Darling, Boa Sr (Bo), Pirate Ensemble; Kurt Perry Smee; Reed Epley / Camden Kwok Michael, Lost Boy (Twin); William Foon / Micah Turner Lee John, Lost Boy (Twin); Zaynn Arora Lost Boys Ensemble; Levi Chrisopulos  Lost Boys Ensemble; Charles Antenen Lost Boys Ensemble; Jonah Barricklo Lost Boys Ensemble; Chrstina Hélène Braa The Croc, Gyo ti (Olmec), Jane, Pirate Ensemble;  Jordan T. DeLeon Bai Bi’a (Gonaqua), Pirate Ensemble; Leo Gallegos Lost Boys Ensemble; Brandon Gille Lost Boys Ensemble; Ryan Perry Marks Nintoku (Yamato), Pirate Ensemble, Co-Fly Captain; Michael Marrero Aiyo (Chorrera), Pirate Ensemble; Kenny Ramos Acoma (Cahokia Mississippian), Pirate Ensemble; Hannah Schmidt Liza, Žemyna (Early Slavs), Pirate Ensemble; Kiara Williams Ife (Nok), Pirate Ensemble. Swings: Tony Collins Asst. Dance & Fight Captain; Bailey Frankenberg Dance, Fight, & Co-Fly Captain; Leo Gallegos; Cheyenne Omani.

Music Department ([Ŀ] indicates local): Jonathan Marro Conductor / Keyboard; Michael Gilden Assoc. Music Director; Victoria Hurlburt Violin; [Ŀ] Jen Choi Fischer Violin; Roman Wood Cello; [Ŀ] Ira Glansbeek Cello; Ryan Claus, Kevin Vu Reeds; [Ŀ] Jeff Driskill Reed 2 (Flute / Clarinet / Bass Clarinet); Sophie Manoloff Trumpet; [Ŀ] Aaron Smith Trumpet 2 (Trumpet / Flugelhorn); Kyle Knepper Trumpet / Flugelhorn; Jon Dowd Trombone; [Ŀ] Danny Lawlor Trombone; Brian Ganch Drums / Percussion; [Ŀ] Eric Heinly Orchestra Contractor; John Mezzio Music Coordinator; Billy Jay Stein, Chris Petti, Hiro Iida, Benedict Braxton-Smith, and Jason Howland for Strange Cranium Electronic Music Design; Michael Pacifico and Jacob Fjeldheim Music Preparation; Andy Einhorn Music Supervision, Orchestra Adaptation, and Additional Arrangements. David Dabbon New Fight & Dance Music; David Dabbon & Andy Einhorn Fight Music & Dance Arrangements.

Creative and Production Team: Paul Rubin Flying Sequences Choreographer; Anna Louizos Scenic Design; Sarafina Bush Costume Design; Amith Chandrashaker Lighting Design; Kai Harada Sound Design; David Bengali Projection Design; J. Jared Janas Wig, Hair, & Makeup Design; Paul Kieve “Tinker Bell” Design; Matt Coward Assoc. Director; Travis Waldschmidt Assoc. Choreographer; Sordelet Inc. Fight Direction, Intimacy Coordinator; Anastasia LeGendre Intimacy Coordinator; ARC/Duncan Stewart, Patrick Maravilla Casting; Michael Donovan, CSA, Richie Ferris, CSA Additional Casting; Bond Theatrical Tour Booking, Marketing, & Publicity; Gentry & Associates General Management; Megan Belgam Production Stage Manager; Kendall Stevens Assistant Stage Manager; Luke Meyer Company Manager; Royce Matthews Asst Company Manager.

Favorite buried credit: Crocodile Costume built by Randy Carfagno Productions.

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Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.

Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending):

• July: ♦ The Sound of Music at 5-Star Theatricals;
• August: ♦ Clue at CTG/Ahamanson Theatre; ♦ Company at Broadway in Hollywood/Pantages; ♣ Postmodern Jukebox at The Magnolia, El Cajon.
• September: ♦ Hamilton at Broadway in Hollywood/Pantages; Cyrano de Bergerac at Pasadena Playhouse; possibly Randy Newman’s Faust ⊕ at The Soraya
• October: ♦ American Idiot ⊕ at CTG/Taper; ♦ Little Shop of Horrors at 5-Star Theatricals; ♦ Kimberly Akimbo at Broadway in Hollywood/Pantages.
• November: ♦ Back to the Future: The Musical at Broadway in Hollywood/Pantages; possibly ♦ Fiddler on the Roof ⊕ at La Mirada PAC; ♦ La Cage Aux Folles at Pasadena Playhouse; possibly Santa Claus Conquers the Martians ⊕ at Maverick Theatre

On the Theatrical Horizon:

Patrick Page will be bringing All the Devils Are Here to the Broad Stage in Santa Monica in April 2025. Looks interesting.

This entry was originally posted on Observations Along the Road as By Carbonite of Soda, Go | "Peter Pan" @ BIH/Pantages by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.