Never Never Land

Peter Pan

A newly updated musical version of the boy from Never Never Land, who refused to grow up, has soared into Chicago for only two weeks. The title character in this version’s portrayed with adolescent finesse by a handsome young actor. But this is just one of the many differences in this newly modernized musical. The original production, based upon the novel and play by Sir J.M. Barrie, was adapted, directed and choreographed 70 years ago by the late, great Jerome Robbins. This new, updated version, directed by Lonny Price, sports an “additional book” credited to Larissa Fasthorse (the first female Native American playwright to have written a show for Broadway, THE THANKSGIVING PLAY). The libretto and most of the songs in this revised, non-Equity production, are based upon the original 1954 version, but everything is served up with a 21st century sensitivity and realness. 

There are quite a few new features in this production. First, the musical is shorter. Once a three-act show, with two intermissions, The Nursery, the Flying sequence (nicely choreographed here by Paul Rubin) and the children’s arrival in Neverland are all combined into the first act. Act II takes place on the Jolly Roger Pirate Ship, then travels back again to the Nursery. Next, the story’s no longer set in Victorian London. It seems to take place somewhere in modern-day America. The members of the Darling family now reflect our more inclusive society. The interracial cast also includes some non-binary actors, as well. There’s no nursemaid dog named Nana and no maid called Liza. She’s merely a walk-on role, a tuned-out teenage babysitter for the children. There are plenty of references to contemporary technology, such as cell phones, television, video games, Simon Tetris and social media. Wendy, who’s planning to go into the medical profession, has a little surgical kit by her bedside, instead of a sewing basket. It’s used for helping sew on Mr. Darling’s sleeve button and Peter Pan’s escaped shadow. Many of the costumes reflect today’s fashions, and the Nursery looks much more like a modern kids’ bedroom, filled with school projects, electronic games and toys.

One of the biggest changes is Ms. Fasthorse’s more politically correct treatment of the “Indians” in Barrie’s original book. An immediate change that musical theatre purists will notice, is the abolishment of the insensitive musical chant, “Ugg-a-Wugg,” It’s been replaced by a pleasing new song and dance between Peter Pan,Tiger Lily and the ensemble that’s entitled “Friends Forever,” a catchy chorale that closes Act I. Also, Tiger Lily and her friends now have historically authentic names, like Acoma, Zemyna and Nintoku; and the program provides the name of each Native American tribe or civilization from which these ensemble characters herald.

Other musical differences include a shortened Act I lullaby, “Tender Shepherd;”; and Act II opens with the Pirates singing a reprise of Peter Pan’s catchy, “I Won’t Grow Up,” which is entitled “We Hate Those Kids.” This production cuts “Oh, My Mysterious Lady,” originally sung by Hook and Peter, as the mischievous boy tricks the Pirate into thinking that he’s a flirtatious woman. In fact, that entire scene is missing and replaced with a slapstick rescue scene. Wendy and Tiger Lily aren’t rivals anymore, but instead they bond in their criticism of Peter Pan’s constant bragging and crowing. They also create a Girl Power tag team when fighting the Pirates. In addition, Peter is given a new ballad called “When I Went Home.” In it the audience hears the reasons why Peter refuses to join the Lost Boys when they decide to return home with Wendy, John and Michael.   

For musical theatre purists, especially theatergoers who fondly remember seeing the fantastic Mary Martin, Sandy Duncan and the Olympic gymnast-turned-actress, Cathy Rigby in the title role, there’s a big change. Peter Pan is finally being played by a male actor. Nolan Almeida is the youthful actor making his professional tour debut the title role. With rugged good looks, lots of boyish charm, impressive aerial athleticism, polished dance ability and a decent singing voice, Mr. Almeida makes this iconic role all his own. There’s no denying that Nolan creates a great, feisty young character. The only problem is that he’s barely audible! Both his speaking and singing voice are like whispers, a problem that the sound designer or board operator should’ve been able to remedy. Only his higher musical notes could be heard. Nolan Almeida has possibly strained his voice playing this demanding role, eight performances a week, during the long National Tour. He might benefit from some medical treatment or perhaps just a few nights off for vocal rest. 

Wendy is pleasantly played by lovely Hawa Kamara, creating a feisty feminist who’s not immune to crushing on Peter Pan. She fervently displays the character’s independent streak and her flair for adventure. Tiger Lily, Wendy’s Neverland counterpart, is portrayed with fierce bravado by singer/recording artist and composer Raye Zaragoza. Displaying a pleasant voice and the ability to easily handle Lorin Latarro’s athletic choreography, Ms. Zaragoza is a standout. Both Mr. Darling and Captain Hook are usually played by the same actor, and that hasn’t changed in this production. Cody Garcia is the handsome, tall, non-binary actor who’s funny as both being a bumbling husband and father, and then becomes the silly, slightly effeminate Pirate King. Especially adept with a sword, they adopt an interesting Scottish burr as Captain Hook, that may remind theatergoers of Shrek.

The real star of this musical, however, is the beautiful original score by Morris (Moose) Charlap, with lyrics by Carolyn Leigh. It includes additional music by Jule Styne, with lyrics by Betty Comden, Adolph and Amanda Green. In addition, kudos to the gifted Musical Director and Conductor is Jonathan Marro whose exciting pit orchestra and vocal guidance is the real magical pixie dust in this production.

The production captures the real fantasy of this fairy tale in elements of Sarafina Bush’s colorful and creative Costumes and J. Jared Janas’ Wigs and Makeup. The story takes flight in the stunning Scenic Design by Anna Louizos, greatly enhanced by the breathtaking moving Projections by David Bengali, and sparkles under Amith Chandrashaker’s brilliant Lighting Design. Paul Kieve’s lovely Tinker Bell Design,  brings the tiny fairy to life, especially after the “believers” in the audience applaud to save her life.

This new, non-union production of PETER PAN is a respectable offering that features a cast of talented new triple-threats, just beginning their theatrical careers. It will dazzle, delight and thrill every theatergoer, especially younger audiences who have never seen this musical before, or experienced much live theatre. The story will charm even the most embittered, disagreeable curmudgeon to want to fly, crow, never grow up and spend an enchanting, enjoyable afternoon or evening in Never Never Land.      

Recommended

Reviewed by Colin Douglas

Presented March 25-April 7 by Broadway in Chicago at the James M. Nederlander Theatre, 24 W. Randolph St., Chicago.

Tickets are available at all Broadway in Chicago box offices, the BIC Ticket Line at 800-775-2000 or online at www.BroadwayInChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.