Review: PETER PAN at Bass Concert Hall

The new Broadway tour of Peter Pan has taken flight with a refreshing approach to the classic tale, soaring high above the Texas skies, both figuratively and literally. While rooted in the beloved 1954 musical, this production makes bold strides to revise outdated stereotypes, offering a thoughtful and inclusive take on the story. With new songs, a reworked script by Indigenous playwright Larissa FastHorse, and a diverse, multicultural cast, this is a Peter Pan for the modern age.

Gone are the problematic depictions of Native American characters, including the notorious "Ugg-A-Wugg" number. In its place, a newly written song blends the melody from Subways Are for Sleeping with updated lyrics by Amanda Green. FastHorse’s revision breathes new life into the story, correcting past missteps and setting the narrative in modern-day America, where the characters reflect a more global and inclusive perspective.

At its heart, Peter Pan explores the central theme of refusing to grow up. Peter’s rejection of adulthood is driven by a desire for freedom and adventure, a longing to escape societal expectations. Wendy, in contrast, dreams of growing up to gain freedom from the restrictive roles often assigned to women, like wife and mother. She aspires to become a doctor and forge her own path, but despite her ambitions, she is still expected to fulfill the nurturing role of a mother figure to the Lost Boys. This tension highlights the societal expectation that women, even as they seek independence, remain caregivers.

Hawa Kamara’s portrayal of Wendy Darling is charming, though the age gap between Wendy and her younger brothers detracts from her character’s youthful innocence.

Bailey Frankenberg shines as Tiger Lily, bringing a commanding presence to the role, exuding power and strength. Her portrayal adds dignity and depth to a character once relegated to stereotype.

Nolan Almeida’s Peter Pan is charismatic, especially in his aerial performances. His graceful dancing in the air, part of the stunning flying choreography by Paul Rubin, is one of the show’s highlights. However, his vocals are occasionally drowned out by the loud orchestra, which diminishes the impact of his musical numbers.

The pirate crew, led by the quirky Captain Hook (Cody Garcia), adds humor and energy, each pirate offering their own eccentricity. The Lost Boys bring a genuine sense of childhood wonder to their performances, while special mention must be made of the adorable John (Levi Chirsopulos) and Michael (Camden Kwok), who steal every scene with their innocence and mischievous charm.

A particularly captivating aspect of this production is its visual design, especially the reimagined Neverland. The lush, vibrant tropical setting, designed by Anna Louizos, creates an expansive, immersive world. The use of projections enhances the fantasy elements, transforming the jungle into a mysterious and adventurous place, with swirling colors and sweeping visuals that transport the audience into a world that feels both familiar and redefined.

This version of Peter Pan is different and refreshing, especially for younger audiences who will surely love it. The updates to the story, particularly the respect given to female characters and Indigenous cultures, align the show with today’s values of inclusivity, diversity, and empowerment.

The cast, design, and flying choreography come together to create an enchanting experience that elevates the original with thoughtful revisions and breathtaking visuals. This is a show the whole family can enjoy—especially the little ones! For those of us who’ve wrestled with the gender and racial issues of the original, this Peter Pan may not want to grow up, but it certainly deserves a place in the conversation about how we tell timeless stories for modern audiences.

Runtime: a little over 2.5 hours, including intermission

Peter Pan

Based on the play by Sir James M. Barrie

Lyrics by Carolyn Leigh. Additional Lyrics by Betty Comden, Adolph Green and Amanda Green

Music by Morris (Moose) Charlap. Additional Music by July Styne

Originally directed, choreographed and adapted by Jerome Robbins

Additional Book by Larissa FastHorse

Directed by Lonny Price

Choreography by Lorin Latarro

Flying Sequence Choreography by Paul Rubin 

Now playing through December 15th, 2024

Tuesday – Thursday at 7:30 PM

Friday at 8:00 PM

Saturday at 2:00 PM & 8:00 PM

Sunday at 1:00 PM & 6:30 PM

Bass Concert Hall

2350 Robert Dedman Drive

Austin, TX 78712

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