Review: Magical Ensemble in PETER AND THE STARCATCHER at freeFall Theatre

I was worried. The long-awaited freeFall Theatre production of Rick Elice's PETER AND THE STARCATCHER had just started, and at first it seemed somewhat disjointed, frantic and busy without much reason. A momentary thought of dread suddenly hit me: Is this show, which seemed ideally suited for the folks at freeFall, going to be one of their rare misfires? What was all the brouhaha about? It all looked great with one of the best sets I had seen all year, but something at the very start was amiss. Bodies seemed to be running on and off the stage like puzzle pieces that didn't quite know where to fit in.

And then it just happened. In a moment, a mere blink of an eye, the whole thing just snapped into place, and I can safely say that PETER AND THE STARCATCHER became one of my favorite theatre-going experiences of the year. Although it may not be as transcendent as freeFall's Into the Woods or One Flew Over the Cuckoo's Next, it ranks high up there with those amazing shows. In some ways, it could be the ultimate freeFall show.

As most of you know, PETER AND THE STARCATCHER is a sort of manic, roller coaster-paced prequel to Peter Pan. Although it has some of the enchantment of the old Peter Pan ride at Disney, it reminds me more of the old Mr. Toad's Wild Ride--where you're in constant chaotic motion, and it's so exciting that there's barely any room to breathe. People running, jumping, chasing, catching; the whole cast is in pretty much nonstop motion. PETER AND THE STARCATCHER is a constantly active show, and believe me, it's never dull.

Credit for its awesomeness falls into many hands--the tech geniuses, the ballsy director and the fine actors. And of those fine actors, Chris Crawford as Black Stache (Captain Hook in his early days) gives perhaps the funniest performance I have seen all year. Hilarious as Crawford was in The Buffalo Kings, he's even better here. Every line, every malapropism, hits the bull's eye. He's part Snidely Whiplash, part Dr. Evil and part Snagglepuss. It's a performance that should not be missed, and unfortunately, the run of PETER AND THE STARCATCHER is sold out, or close to selling out, so unless you are lucky enough to get a ticket to the remaining shows (or have already seen it), then you will not understand the splendor of Mr. Crawford's hysterics.

One moment in Crawford's winning turn needs to be focused on. In the matinee performance that I saw, the key that Black Stache must use accidentally fell through the floor and the performer was suddenly caught in the ultimate actor's nightmare: a (literal) key prop becomes unusable, so what do you do? As I tell my students, this is the type of moment that makes or breaks you, where your improvisational abilities must come into use. The audience saw what was happening (and there was no way to mask it); we all understood the situation and waited for the actor's response. And he did not disappoint. Crawford owned the moment, and the audience, laughing as I have never heard an audience laugh before, was his. Later in the show, when the key magically shows up after being missing, the actor did it again. He saved the show and turned a potentially tragic moment into a magic one that connected the audience. Ah, the joys of live theatre!

Equally as good as Crawford is Kelly Pekar's Molly. Her strength as well as her vulnerability (and love for Peter) shines through in an amazing portrayal. Craig Sculli's Smee is a hoot and a perfect dingbat sidekick for Crawford's Black Stache. Lucas Wells gives depth to the role of the lost Peter Pan, and we understand his struggle (he breaks your heart). Daniel Schwab, so good in The Importance of Being Earnest with Zombies, is very different here as the paternal Lord Leonard Aster, but equally as strong; he's always a joy to watch onstage. Clinton C. H. Harris, Bonnie Agan, Chris Jackson, Chris Metz, Christopher Rutherford, and Taylor Simmons play various roles throughout and all succeed beautifully. Nick Lerew is quite good as Stank and several other parts, but strong as he is, he's not the usual standout that he's been in previous shows, which is not a bad thing. This is an ensemble piece if there ever was one, and it's one of the best, if not the best ensembles that I have seen all year.

The show is aided wonderfully by Wayne Barker's music, with musical director Michael Raabe on piano and Burt Rushing on percussion.

Charles Murdock Lucas' set does the near impossible: It makes last year's set design tour de force for Burnt-Part Boys look downright ordinary. Everything in this show is off the scales when it comes to creativity. Two balloons and a string of white triangles are all that's needed to create the menacing croc, Tick Tock. When an actor dives underwater, a canopy suddenly covers the audience. Numerous shirts are lined up like a gigantic sail. The whole concoction acts as a sort of child's playground, which is more than appropriate for the story at hand. Mike Wood's lighting is imaginative and quite lovely; it works in glorious harmony with the stunning set.

Director Eric Davis has done it again. He has turned a great script into a beautiful show. (And as the show's costume designer, he also scored big, especially the hilariously bizarre mermaid attire in the opening of Act 2.) This was one of the most joyously directed productions I have ever seen. I was worried early on that the whole thing was going to be a mess, like Jell-o that couldn't quite congeal. But it came together, and how! Once again, freeFall has elevated the local theatre scene as well as the community in general.

Good theatre is a tonic, a comfy coat on a frozen day, a cold Dr. Pepper on a boiling summer afternoon. I have had my doses of good theatre this year as well as a few helpings of great theatre. (Yes, there were those coals-in-the-stockings shows as well: Bad shows that are best forgotten, so let's forget them.) So when I see an incredible production, it is time to celebrate. PETER AND THE STARCATCHER is a show to celebrate. Only a true curmudgeon, or a Grinch (or a real life Hook), may not succumb to its charms.

PETER AND THE STARCATCHER runs through December 24th.

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