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Peter and Wendy
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On these magic shores, children at play are forever beaching their coracles. We too have been there; we can still hear the sound of the surf, though we shall land no more.
---J. M. Barrie, Peter and Wendy |
Narrator Karen Kandel (center) with Hook and Peter
(Photo: Richard Termine)
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I've been a fan of J. M. Barrie's story of the Darling children's adventures with the never aging motherless Peter Pan and the Lost Boys since I was six years old and my mother took me to see a nonmusical version. It was my first outing to a theater and I've been hooked ever since. I enjoyed Cathy Rigby soaring above the orchestra of the Mariott Marquis three years ago but the Mabou Mines' enchanting adaptation is an all time high in its artistry. If, like me you didn't see this production's 1997 run at the New Victory Theater, don't miss it this time around. It's a magical experience, and like Julie Taymor's The Green Bird (another in the New Victory's many charmers) this is definitely not for children only. And unlike Taymor's super hit with puppets across the street from the New Victory, The Lion King, you can see Peter and Wendy without making a big dent in your entertainment budget.
Liza Lorwin's version of the saga of the flying boy whose name has become a synonym for the eternal spirit of youthful belief, captures the humor and adventure without skirting the more adult themes of the pain of abandonment, the hovering shadow of aging and death. A single narrator, the remarkable Karen Kandel, manages to use her crystal clear voice to evoke the unique personalities of all the characters. While Kandel is the only "real" person on stage, she is surrounded by the seven draped in white puppeteers (even their faces are covered) who gracefully animate their artful puppets: from the adorable Peter who never loses his first teeth, to a deliciously quirky Captain Hook whose nemesis, the Crocodile morphs right on stage from the cuddly dog-nursemaid, Nana. The simple scenery consists of props from the Darling children's nursery: one of the books becomes a giant popup, the toy chest holds the lost boys and the stuffed toys, including one which becomes Nana and the bed sheets become the sails of the pirate ship.
Under Lee Breuer's direction, we see all the theatrical variations and inventiveness of contemporary puppetry, including some ingenious shadow puppetry and choreography that includes a hilarious tango by the croocodile and its creator.
To add to the visual pleasures, there's the enjoyable music played by the musicians in the balcony boxes at either side of the stage, with numerous gorgeous sung solos by Lisa Mosacatiello . Lilting Celtic airs dominate John Cunningham's music and lyrics (abetted by additional lyrics from Mr. Breuer, Ms. Lorwin and Barrie).
The adaptation includes what amounts to the epilogue of Barrie's novel, which takes us beyond the return of Wendy and her brothers to their London nursery to a grownup Wendy, no longer airborne, but passing her adventurous spirit on to her little daughter. Nice as it is to see Barrie's writing honored to the very end, it makes for a rather too drawn out ending. Perhaps it is the fact that this adds up to two and a half hours that accounts for the e New Victory's recommendation not to bring children under eleven. Except for the show's length I think this is a conservative estimate and I would would not hesitate to bring a nine or ten year old. This Peter and Wendy, with its sensitive realization of life with all its happy and not so happy possibilities, is a triumph of the imagination for anyone from nine to ninety.
LINKS TO PLAYS MENTIONED
Peter Pan, the Musical
The Green Bird, during its Broadway run
The Lion King
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PETER AND WENDY - Mabou Mines
From the novel by J.M. Barrie Adapted by Liza Lorwin Directed by Lee Breuer Designed by Julie Archer Music and lyrics by Johnny Cunningham, also Barrie, Mr. Breuer and Ms. Lorwin; Additional puppetry direction, Basil Twist and Jane Catherine Shaw; WITH: Karen Kandel; master puppeteers, Basil Twist and Jane Catherine Shaw; puppeteers, Sam Hack, Lute Ramblin', Sarah Provost, Jessica Chandlee Smith and Jenny Subjack. Costumes by Sally Thomas Sound by Edward Cosla Associate light design by Steven L. Shelley Fight direction by B. H. Barry Film by Andrew Moore Musicians Johnny Cunningham (Feb. 1-10), Susan McKweon (Feb. 13-24), Jay Ansil, Alan Kelly, Ivan Goff, Lisa Moscatiello (Feb 1-10) , Lisa Gutkin and Jay Peck Running Time: 2 hours and 15 minutes, plus intermission New Victory Theater, 209 West 42nd Street (Broadway/8th Ave): 212-239-6200 or 800-432-7250 New Victory Web Site Suggested for Ages 12+ Full Price Tickets: $10, $20, $30. Member Tickets: $7, $14, $21 -- $10 STUDENT RUSH TICKETS at the Box Office, on the day of the show only, 15 minutes before showtime, subject to availability with valid High School or College I.D. 2/01/02-2/24/02; opening 2/03/02 Thursday - Friday @7PM, Saturday @2PM & 7PM, Sunday @3PM Reviewed by Elyse Sommer based on February 7th performance |
6, 500 Comparative Phrases including 800 Shakespearean Metaphors by CurtainUp's editor.
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