‘Peter Pan’ @ Fair Park (Broadway Dallas)
Photos by Matthew Murphy
—Martha Heimberg
I’ve seen green-clad Peter Pan fly off to Neverland many times—on the stage, on TV, and in the Disney animated movie—but never with such a spectacular mix of physical gymnastics, high-tech flying gear, brilliant three-dimensional projection designs (by David Bengali), and buckets of glittering pixie dust as found in the current take on J. M. Barrie’s classic 1904 play about the boy who refused to grow up.
That’s not all there is to love in Broadway Dallas’ presentation of the richly imagined national tour of Peter Pan, the 1954 Broadway musical (televised in 1955) thoughtfully updated by award-winning playwright Larissa FastHorse. It’s at the Music Hall in Fair Park through January 5, and the holiday-pumped, multi-generational family audience on Boxing Day cheered with one voice as Peter (exuberant, athletic Nolan Almeida) and his new recruits rose over vanishing skyscrapers to the chords of “I’m Flying.”
Originally directed and choreographed by Jerome Robbins, the show has lyrics by Carolyn Leigh and music by Morris (Moose) Charlap, with contributions from some notable theater makers; additional lyrics are by Betty Comden, Adolph Green and Amanda Green, and additional music by Jule Styne. Here, director Lonny Price pulls it all together to keep an upbeat rhythm of dialogue, song and dance, choreographed by Lorin Latarro. The somersaulting flying sequences are choreographed by Paul Rubin.
Anna Louizos’ handsome set designs are bright, detailed and move about as seamlessly as Peter flies through the window. The Darling children are happily creating internet content in their posh bedroom, which morphs magically into a green and gauzy Neverland, which in turn gives way to a pirate ship with a Jolly Roger flag—all dramatically aglow in Amith Chandrashaker’s lighting designs. When Peter and the Lost Boys sing “I Won’t Grow Up,” it’s hard to muster a counter-argument to spending a life of “youth and joy and liberty” in this adventure-packed land.
Sarafina Bush designed the numerous, stunning costumes with great variety and texture, from a dashing red pirate suit to a frightening crocodile outfit.
And everybody in Neverland can sing and dance just great. Almeida, a senior in high school, is a rambunctious Peter, with a clear voice and energetic delivery. Grandmoms will remember Mary Martin in the role, and other women cast as the adolescent Peter, but this young actor has all the high notes and high wires covered. When he’s singing “I Gotta Crow,” he exudes a naïve, boyish confidence, without being a cocky bore. In the scenes with Wendy, a full-throated, flirty Hawa Kamara, Almeida is mostly confused by her amorous glances and determination to make him play “father” to the Lost Boys if she’s going to be on “mother” duty.
Cody Garcia is tall, dark and hilariously sleazy as Captain Hook, the villainous pirate we love to hate—swooshing across the stage in a tango move, sneering and twirling his sword like a dance partner. Rick Sordelet and Christian Kelly-Sordelet designed the flashy, clanging sword fights between Hook and his comically motley crew, and Peter Pan with his army of Lost Boys. Garcia also plays Mr. Darling, transforming quite touchingly from a frowning workaholic into a kind and loving father in the last scene, when Wendy convinces the orphaned boys of Neverland to leave Peter behind, move in with her own family—and grow up.
Bailey Frankenberg is a proud and feisty Tiger Lily, perhaps the most noticeably changed character in the FastHorse rewrite. She is the leader of a tribe of indigenous warriors. These muscled dancers no longer sing about being “redskins” and stomp in a circle, but bust the coolest dance moves you can imagine. TL, as Hook calls her, makes her own gal-to-gal pact with Wendy, and they make it clear to Peter that he’s not running Neverland alone. “Friends Forever,” the big number that ends the first act, features the 24-member company in an all-out blast of youthful singing and dancing that had everyone clapping along.
The child actors are such pros. Levi Chrisopulos, as older brother John Darling, minds his sister and dances as she directs. Camden Kwok, as young Michael, is both rowdy and charming as a fast follower of daring Peter Pan. “Tinker Bell,” designed by Paul Kieve to dart about like a willful fairy, is still a loyal bright light who has it in for Wendy. Serenity Mariana crawls across the stage as The Croc, ticking steadily—and just waiting to swallow the rest of Captain Hook.
Jonathan Marro conducts the nine-member orchestra from overture to finale—and through the standing ovation for this fast-moving and memory-making evening of just over two hours, including intermission.
WHEN: December 25, 2024-January 5, 2025
WHERE: The Music Hall at Fair Park, Dallas
WEB: broadwaydallas.com
