In 1904, J.M. Barrie gave the world one of its most endearing, timeless characters, Peter Pan, “the boy who wouldn’t grow old.” Fifty years later, composer Moose Charlap and lyricist Carolyn Leigh (with additional music by Jule Styne and lyrics by Betty Comden and Adolph Green) adapted the story into a stage musical, which has captivated theatergoers, young and old, ever since.
But over time, issues of ethnic authenticity and political correctness have dogged the show, leading to revisions to the material every time it is revived. Now comes a major overhaul of Peter Pan, led by Native American playwright and activist Larissa FastHorse and director Lonny Price, addressing most of the quibbles without damaging the charm at the heart of the fairy tale. The results are on view at the Kravis Center’s Dreyfoos Hall this week through Sunday.
Surely you know the storyline that Barrie devised, whether from his original play, the musical or the many movie versions of the tale. It concerns the perennially young soul who flies into the home of the three Darling siblings and transports them to his fairy tale headquarters in Neverland, where his orphaned Lost Boys co-exist uneasily with pirates and Indigenous people.
Pirates apparently do not have an anti-defamation league, but the so-called “Indians” do. So gone is the offensive depiction of Peter’s red-skinned foes and their song, “Ugg-A-Wugg.” Not only are they painted with admirable pride, but they do not remain enemies of our hero for long. Cue the peace pact and accompanying dance, to Lorin Latarro’s choreography. Typical of the tribe is comely Tiger Lily (Bailey Frankenberg), an empowered female with a dance style that is far more Broadway than Blackfoot.
Even the casting of Peter is non-traditional, or maybe for one of the few times, he is cast gender-accurate. In the show’s original production, the legendary Mary Martin starred as Peter and, ever since, the role has gone to such boyish performers as Sandy Duncan and Cathy Rigby. Currently, however, Jonah Barricklo flies his way into our hearts in the title role, handling some eight musical numbers with his creamy vocal styling. Acrobatic and playful, he is indeed something to crow about. Flying sequence choreography is credited to Paul Rubin, who adds plenty of aerial gymnastics. But unlike some recent productions, the flying remains on the stage side of the proscenium.
In one of the great Freudian double casting coups of the musical theater, Mr. Darling — preoccupied father of Wendy, John and Michael — and Captain Hook, “the swine-iest swine in the book,” are both played by the same actor. Here those chores are handled by Cody Garcia, particularly enjoyable as the malevolent one-handed victim of a hungry crocodile. Speaking of iconic casting, Tinker Bell is again played by a twinkling light, so convincingly that you will clap for her to save her life when Peter asks you to do so.
Hawa Kamara has a lovely singing voice as the maternal Wendy. Also strong vocally is the ensemble of Lost Boys and Pirates. Oddly, this new version of the story eliminates Nana, the lovable St. Bernard kid-sitter, replaced by a human character who puts in a couple of token appearances. Did PETA object to depictions of canine employment?
In any event, the show’s score is chock full of beautiful ballads (“Tender Shepherd,” “Distant Melody”) and comic numbers for Captain Hook (in dance tempos of tango, tarantella and waltz). The casting of a male Peter has meant the deletion of “Oh, My Mysterious Lady,” written for Martin’s soprano range. On the other hand, the first act ends with a new number, “Friends Forever,” which co-opts Styne’s melody from the Subways Are for Sleeping song “Once In a Lifetime,” with new lyrics by Amanda Green, Adolph’s daughter.
Anna Louizos’ scenic design is attractive without breaking any new ground, though it is enhanced by David Bengali’s animated projections, which turn the flight to Neverland into a thrill ride.
Every generation, it seems, is introduced to the theater by Peter Pan. And while this latest version may be a bit long for the attention span of the youngest audience members, it is nevertheless a worthy portal into the magic of the stage.
PETER PAN, Kravis Center Dreyfoos Hall, 701 Okeechobee Blvd., West Palm Beach. Through Sunday, Feb. 16. Tickets: $50-$145. Call 561-832-7469 or visit www.kravis.org.