American playwright and choreographer Larissa FastHorse has added magic fairy dust to the “Peter Pan” musical in its recent Broadway incarnation, continuing at Segerstrom Hall through Aug. 18.
Based on the 1954 Broadway version, itself based on J.M. Barrie’s 1911 novel, this “Peter Pan” features updated language and a more modern, multicultural Darlington family, plus a stronger Wendy as a true counterpoint to the forever-young Peter.
Flying escapades, a dynamic Neverland set (scenic design by Anna Louizos) and visual effects (projection design by David Bengali) – not to mention cute and talented kids, a campy Captain Hook and a well-made crocodile – help “Peter Pan” twinkle as brightly as Tinkerbell, who here is a light that flits about and “talks” musically (designed by Paul Kieve).
FastHorse’s edits make the story feel more rounded and complete, with a satisfying feeling at the end. When we meet the Darlingtons, the parents (Shefali Deshpande and Cody Garcia) are in a hurry to get dressed and out the door to a company dinner, leaving the three kids in the hands of a headphone-wearing teenage babysitter.
Wendy (a warm Hawa Kamara) is a strong girl – physically, mentally and emotionally – who wants to be a doctor (which comes in handy later). Her little brothers John (William Foon) and Michael (Camden Kwok) – both played by talented young actors – love pirates (which also comes in handy later).
When Peter Pan (an exuberantly youthful Nolan Almeida) swoops in looking for his shadow, Wendy takes a rather quick liking to him, amused to find out he doesn’t know about kisses. Peter tells her of the orphaned Lost Boys on Neverland whose pockets have been stolen. Perhaps Wendy could make new ones and be their mother.
The dynamic is a little weird but very meet-cute for two kids. Soon enough, the three Darlington children are flying in the air with Peter (choreographed by Paul Rubin) and through a time portal (the whole scene magically rendered) to Neverland where Peter and the Lost Boys battle on two fronts – pirates led by Captain Hook (Garcia) and island natives led by a fierce Tiger Lily (Raye Zaragoza).
As directed by Lonny Price, Hook is deliciously campy and the pirates are goofily hillbilly. Kurt Perry is hysterically funny as Hook’s right-hand man Smee with over-the-top deliveries.
And Tiger Lily and her crew – each member representing an Indigenous nation, including Cahokia Mississippian, Olmec and Yamato – make clear to the pirates they have a stake in what happens on Neverland and will valiantly defend their heritage.
Bravery, suspense and hilarity ensue – including from a very persistent crocodile (Christina Hélène Braa) – as all three parties vie against each other, with new alliances forming and Peter heroically saving the day.
The songs throughout are delivered excellently by the cast, including the iconic “I Won’t Grow Up” – accompanied by a lively orchestra (conducted by Jonathan Marro) – with the inherently racist “Ugg-a-Wugg” number thankfully cut. And choreography (by Lorin Latarro) is impressively executed by the young cast.
Overall, this new “Peter Pan” offers a transporting adventure for young and older alike. It fits the sensibilities of our times more than previous versions, making for a richer, more meaningful theatrical experience, delightfully enhanced by the flying and visual effects – but catch it this weekend before it flies away!
“Peter Pan” continues at Segerstrom Center for the Performing Arts, 600 Town Center Drive, Costa Mesa, through Aug. 18. Tickets start at $39 for performances Tuesdays through Fridays at 7:30 p.m.; Saturdays at 2 p.m. and 7:30 p.m.; and Sundays at 1:00 p.m. and 6:30 p.m. Tickets can be purchased online at SCFTA.org or by calling the box office at (714) 556-2787. Run time is 2 hours, including intermission.
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