Reviewing Theatre For Over 40 Years
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Children who grew up when I did are divided into two camps: those who think the best “Peter Pan” is the Disney animated version, and those – like me – who know that the Mary Martin version is the “real” one. Of course, both are based on J.M Barrie’s original 1904 script for a British “panto”. The musical Martin brought to television after its triumph on Broadway used much of the original script, adding the music of Morris (Moose) Charlap with additions by Jule Styne, and the lyrics of Carolyn Leigh plus Betty Comden and Adolph Green.
Since then, all productions of this musical version, whether Sandy Duncan’s and, later, Cathy Rigby’s Broadway hits, or more local productions, have honored the panto format: that is, the tradition of having one character (in this case, Peter) played by a cross-dressing performer. In other words, in live theater Peter has always been played by a woman, the most convincingly boyish being former Olympic gymnast Rigby.
Now the folks at Candlelight Pavilion Dinner Theater have decided to defy tradition, go literal, and have Peter be played by a male. Add to this the challenge, well met, of having people fly on a stage notably lacking the “flies” – the large space above a stage where rigging and set pieces can hang out of view – and one could not help but be curious. Besides, who doesn’t have moments of wanting to sing “I Won’t Grow Up”?
For the show to work, four characters (or three actors) have to be top-notch, and play their often deeply silly parts absolutely straight. Gavin Juckette makes an earnestly boyish Peter, with the serious sense of fun which makes the piece work, even if in defiance of tradition. Randy Ingram, in a practice which does keep to tradition, in the dual parts of Mr. Darling and Captain Hook gives each character individuality, but in both a delightfully overblown sense of self-importance.
In the somewhat treacherous role of “Indian Princess” Tiger Lily – always a cartoon, as it would be if made up by a prepubescent British boy – Amaris Griggs dances well, proves commanding, and by dealing with Peter as an equal squashes some of one’s disquiet over the role’s stereotypical underpinnings. Valerie Rose Lohman balances the budding-woman and little-girl-fantasy aspects of Wendy, with Andrew Bar as John and Asher Broberg as Michael doing a lovely job as the Darling children.
Add to all of this a delightful collection of lost boys, rather inept pirates (especially Thomas Stanley as Smee – always a personal favorite), and forest animals in an ensemble who bring Neverland to life, and you have a genuinely lovely time.
John LaLonde’s direction keeps the pace moving and the relationships between these fantasy characters engaging. He knows how to use the Candlelight space, using needed entrances and exits through the audience to scoop everyone into the spirit of the thing. Kirklyn Robinson’s choreography uses the comparatively small Candlelight stage particularly well, keeping the atmosphere and energy of the piece. Douglas Austin, as musical director, has given the ensemble a lovely blend.
Kudos also to Chuck Ketter for yet another set fitting a great deal into a small space. The lighting design by Aspen Rogers and Jonathan Daroca, including the character of Tinkerbell, make the piece work as it does.
If you have somehow never seen “Peter Pan,” this is a good one, even if a bit nontraditional. If you wish to introduce a new generation to the magic “Peter” has brought to the young for over 100 years, I’d go see this version, which comes with a lovely meal (including a kids menu). One warning: tickets are scarce. Get on a waiting list if you need to.
What: “Peter Pan” When: through August 17, doors open for dinner 6 p.m. Fridays and Saturdays, 5 p.m. Sundays, and for lunch matinees 11 a.m. Saturdays and Sundays. Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $63 – $78 adult, $30 – $35 children 12 and under, meal inclusive. Info: (909) 626-1254 ext. 1 or www.thecpdt.com
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- Candlelight Pavilion’s “Peter Pan”: Tweaking the Nose of Tradition, Done Well
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- Why History? – Two productions lean on the past, differently, to speak to now