The classic story of the boy who never grew up is being told for a new generation through a national tour of the musical, directed by Lonny Price.
The classic story of the boy who never grew up is being told for a new generation through a national tour of “Peter Pan,” the 1954 musical based on Sir J.M. Barrie’s 1904 play. Directed by Lonny Price, this production is more female-empowered and inclusive while retaining much of the original’s magic.
In my view, the modern setting could have been established without the too-cute references to social media, but hey, that’s just the opinion of one millennial. What works better in the opening scenes is Wendy’s transformation into an aspiring surgeon. Anatomical drawings hang above her bed, and she offers to darn her father’s sleeve with her suturing kit — a skill that comes in handy when a strange boy later appears in the children’s bedroom, crying because his shadow won’t stick to him.
With the help of slick projections by David Bengali, the four children soar to Neverland in flying sequences choreographed by Paul Rubin. There, the Darlings meet Peter’s band of Lost Boys and a tribe led by Tiger Lily . In the original musical, Tiger Lily and company were portrayed as stereotypes of Native Americans, complete with a cringeworthy song that caricatures their language as gibberish.
Tiger Lily and Wendy advocate for equal leadership roles with Peter and fight alongside him against the pirates . Wendy also sings one of the show’s most poignant songs, “Distant Melody,” which was given to Peter in the original. She retains her role as make-believe mother to the Lost Boys, telling them the bedtime stories that first drew Peter to the Darlings’ window. The power of storytelling comes through beautifully here.
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