Review: PETER & THE STARCATCHER at Theatre Baton Rouge

The delightful thing about how children play is seeing the way they put their imagination to the test. A few pieces of wood make for the dock of a ship, and if they say a cat is flying in the air, then that cat is assuredly flying in the air.

That same essence of childhood and thrill of adventure are what make "PETER AND THE STARCATCHER" such a standout show. Not only does the show asks us to remember what it was like being a child, but it also asks us to put our imaginations to the test with the aim of creating something from nothing. Like star stuff, "it makes you what you want to be."

Theatre Baton Rouge's production is evident of reliving the golden age of childhood. Based on Dave Barry and Ridley Pearson's popular novel, Rick Elice's play relates the backstory of James M. Barrie's beloved classic "Peter Pan" and serves as a grownup prequel. Several background questions are answered: how did Peter get his name, how did Black Stache become Captain Hook? What are Tinker Bell's origins? And why was it called Neverland anyway?

Each of the characters in "PETER AND THE STARCATCHER" is looking for something. The orphan boy (Zac Thriffiley) who eventually takes on the name Peter Pan is seeking a home where he "can just be a boy for a while." Molly (Lauren Smith) wants to prove she is old enough to take responsibility as a Starcatcher and becomes a mother figure to the orphans. Black Stache (Travis H. Williams), the pirate with poetic leanings, needs to find a hero to become a memorable villain. "Without a hero, what am I?" he asks Peter. "Ruthless but toothless."

Co-directors Jenny Ballard and Jack Lampert create striking stage pictures during this run. Actors serve as doors, ladders on platforms become ships that spin and collide, rippling pieces of rope are ocean waves, and umbrellas turn into swords. This show is a great piece of pure theatricality as well as imagination.

The show's 12-member ensemble moves effortlessly around the stage to tell their story. Thriffiley's Peter is resourceful and inquisitive, gaining confidence as he meets challenges. Smith's take-charge Molly is compassionate, yet with a nice dash of competitiveness. Williams is outrageously hilarious as Black Stache, milking every funny moment. If anything, come for the magic but stay for his improvised one-liners.

Garrett Buras and Reid Saari are alternately supportive and silly as Peter's orphan companions Prentiss and Ted (who may become the future Lost Boys Slightly and Toodles?). Terry Byars' prissy Mrs. Bumbrake finds her perfect match in BranDon Smith's adoring Alf, Collin Smith and Thomas Jackson are hilariously inept as Fighting Prawn and Hawking Clam, the natives whose language is a pastiche of Italian dishes.

As the show quickly starts, things may feel a bit muddy at first as the actors deliver their lines quite quickly. It may be hard to catch some words through the English accents, but everything comes in stride once the ensemble relaxes into their roles and slows down the line delivery. The only big concern is the volume of the cast when speaking in unison as the combination of mics and projecting can sometimes be harsh on the ears.

Lampert's main choreographed piece, which kicks off Act II, is witty and campy with the best imitation of mermaid tails I have seen to date thanks to the costuming skills of Crystal Brown. Louis Gagliano's lighting design keeps our attention focused as the cast moves about on Kenneth Mayfield's rustic set design, and Richard Baker's music pleasantly underscores the entire adventure.

As a refreshing piece of theatrical magic, "PETER AND THE STARCATCHER" invites us to re-evaluate our lives with the open eyes of a child, and it is something that is needed now more than ever in this cynical world of grownups.

To post a comment, you must register and login.