BWW Reviews: PETER PAN is a Family Friendly Theatrical Treat

The musical adaptation of PETER PAN, follows the familiar story of the boy who refuses to grow up. Enjoying hearing Mrs. Darling tell the Darling children stories, Peter Pan has frequented the Darling household. One night, he returns to reclaim his shadow which Mrs. Darling had previously captured. He accidently wakes the sleeping Wendy Darling and decides to take her to Neverland so she can be a mother to him and the Lost Boys. She agrees to go if her brothers can go too. Once in Neverland, the villainous Captain Hook wants to kidnap Wendy and make her the mother to him and his band of pirates.

Glenn Casale returns to PETER PAN again to direct this current tour, which began in 2011. He notably received a Tony Nomination in 1999 for directing one of PETER PAN'S Broadway Revivals. Glenn Casale keeps the plot moving forward, even though it does feel a bit overly drawn out by the end of the first act. The second act does seem to be better paced, but the defeat of Captain Hook feels somewhat rushed. I expected a longer, more grandiose battle than what was presented. Regardless of this, the flying effects and brightly colored caricatures that embody the stage for the entire performance captivate and delight the audience, especially the younger ones in the crowd.

Like Glenn Casale, Patti Colombo is returning to the current tour to choreograph the show. The show is well choreographed, but her most exhilarating work is present at the top of Act II in "Ugg-a-Wugg."

Cathy Rigby first played Peter Pan in 1974 in a theatre-in-the-round production. She finally got to play Peter on Broadway in 1990 and has repeatedly returned to the role with strong reviews every time. On the last night of her 59^th year of life, she astounded and surprised Houston audiences with her nimble agility, gymnastic prowess, and indefatigable charisma and charm. There is no denying that Cathy Rigby has still got all the physicality that made her a household name as a young gymnast and Olympic athlete. She soars around the stage whether she is harnessed or not and delivers a powerhouse performance from her first appearance to her exciting final flight over the Orchestra level audience during curtain call. Her magnetism and brilliance on stage make one wonder if she is imbued with fairy dust, making believers out of every member of the audience. Her gentle alto voice works nicely in the show. It seemed a little shaky at times in the performance last night, leaving me to wonder if the star is fighting a cold.

As Captain Hook, Brent Barrett is the quintessential dastardly villain. He entered the stage to a chorus of boos, but the audience couldn't help but love him in performance. His dulcet baritone instrument engages the audience and captivates them when he sings. His stage presence, strong voice, and dance moves make his plotting, devious numbers some of the evenings most memorable performances. Brent Barrett clearly understands his role, makes it his own, and leaves the audience wanting more.

The Darling Children played by Krista Buccellato (Wendy), Julia Massey (Michael), and Lexy Baeza (John) do fantastic jobs with their roles. All three children are what the audience expects at all times, and each one is relatable to the child that lives in the heart of the adults and to each child in the audience. However, it is Julia Massey's young Michael leading the full chorus in a wildly frenetic, rhythmic dance during "Ugg-a-Wugg" that truly awed and enchanted the audience.

The Lost Boys are well played by Dane Wagner (Slightly Soiled), JC Layag (Twin #1), Marc Andrew Nuñez (Twin #2), Carly Bracco (Tootles), and Shanon Mari Mills (Curly). With the most dialogue, Dane Wagner's Slightly Soiled stands out, but the whole group breathes life into each of their roles.

With fantastic dancing ability, Jenna Wright thrills and captivates the audience with ease as Tiger Lily. Highlights of her performance include her entrance on hanging silks and her playing off of Cathy Rigby during the high-energy dance number "Ugg-a-Wugg."

As the hilarious, awkward, and bumbling sidekick Smee, James Leo Ryan makes the audience smirk and giggle.

Paul Rubin's work as Flying Sequence Choreographer is superb. He has flown Cathy Rigby since 1997. For this tour he has incorporated some of the aerial stunts from the 2000 DVD, which leaves audiences spellbound and breathless. Leaps, twists, twirls, and flips are all spectacular. It is hard for a tour to compete with the extremely expensive, high-tech flying mechanisms being used in Broadway's SPIDER-MAN: TURN OFF THE DARK, but I found myself wowed by several of the stunts in ways similar to how SPIDER-MAN: TURN OFF THE DARK affected me.

John Iacovelli's Sceneic Design is at its most impressive for the Darling household nursery and the deck of Captain Hook's Pirate Ship. To facilitate set changes, there are many "in-one" scenes. However, the reveal of the first Neverland set truly does not astound audiences the way one would expect for a set to, having been changed during an "in-one" scene. The same can be said for the reveal of the "Marooner's Rock" scene. The Darling nursery slips off stage out of view with mechanical help, and maybe using similar mechanical help to transition to Neverland and Marooner's Rock may have upped the magical ante over choosing to do the transition scenes, using the "in-one" technique. On the other hand, the way that the set interacts with the Tinker Bell lighting element is highly evocative and effective.

Shigeru Yaji's Costume Design is perfect for the piece and every costume looks fantastic on stage. Captain Hook's costume and the Crocodile costume were favorites of mine.

Michael Gilliam's Lighting Design seems a bit dated, using a lot of red, blue, and amber washes for effect. However, the lighting elements used to bring Tinker Bell to life in a 2,650 seat auditorium were inspired, effective, and nothing short of magical.

Sound Design by Julie Ferrin had a few issues at the performance I attended. The pitch modulation on Cathy Rigby's voice during the Marooner's Rock scene left her mostly incomprehensible. I could hear that she was talking, but I couldn't understand what she was saying with the exception of a few words. Also, there are times where, sitting in Row S of the Orchestra, that I had a hard time hearing all of the vocals above the musicians in the pit.

The current tour of PETER PAN is slated to run into 2013 and is a family friendly theatrical treat. Despite feeling long during the first act and the sound issues discussed, families are sure to be enthralled by the amiable and fun performance. The show sparkles with fairy dust and special effects that will leave audience members of any age smiling from ear to ear.

Peter Pan runs on the stage in Sarofim Hall at the Hobby Center for the Performing Arts through December 23, 2012. For tickets and more information, please visit http://www.tuts.com/ or call (713) 558 – 8887.

Photos by Isaac James, courtesy of Theatre Under the Stars (TUTS).

Cathy Rigby as Peter Pan.

Cathy Rigby as Peter Pan shows the Darling children how to fly.

Brent Barrett as Captain Hook with his band of pirates.

Cathy Rigby as Peter Pan with the Lost Boys.

Cathy Rigby as Peter Pan, Jenna Wright as Tiger Lilly, and cast dance during "Ugg-a-Wugg."

Cathy Rigby as Peter Pan and cast sing "I Won't Grow Up" (reprise).