‘Peter Pan the Musical’ @ Fair Park (Nat’l Tour presented by Broadway Dallas)

Photos by Matthew Murphy

—Ramona Harper

“Wow, there are lots of kids in this show… and they’re flying!”—spoken in wonderment and delight by the two darling guests, ages 7 and 10, who accompanied me to see the national tour of Peter Pan at the Music Hall at Fair Park.

Fluttering fairies and glittering sprinkles of fairy dust, naughty pirates on high-seas misadventures, kids who can fly, a crocodile chasing villains, and a motley tribe of rebellious “Lost Boys” who never want to go to school: the magical world of Peter Pan is sure to hold the attention of even the most fidgety young theatergoers.

Scottish playwright J. M.Barrie believed the appeal of being eternally young was a dramatic idea that could become a theatre classic. When, in 1904, he turned a short book he’d written about Peter Pan—a boy who never wants to grow up—into a stage play, it became the hit of London. The story has charmed audiences for well over a century now, on Broadway and in theaters around the world, on television and film, it’s never-ending appeal still reaching out to the young and the young at heart.

Today more than ever, it’s the stunning achievements of cutting-edge theatrical innovation that create much of the wonderment of the story, giving it everything required to create characters who truly “fly” in the theater—and sending Barrie’s imaginative visions soaring to new heights.

In the 2024 Broadway touring production, the most advanced theater technology and special effects make flying look like a breeze with projection design by David Bengali. Other standouts include Paul Kieve’s absolutely amazing “Tinker Bell” design (Peter’s feisty sidekick is a flickering fairy light); the changing colors of magical foliage in the lush lair of Neverland, created by Anna Louizos’ scenic designs and Amith Chandrashaker’s lighting effects; and Kai Harada’s rich sound design.  Sarafina Bush’s costume designs imaginatively clothe the inhabitants of Neverland as colorfully clad Native Americans and children from different cultures, scruffy Lost Boys, and the Blackbeard pirate garb of Captain Hook and crew.

Emmy winner Lonny Price, a longtime Broadway presence, directs the show—and though story and songs will be mostly familiar to adults in the audiences, the dialogue in the current Broadway and touring version has changed substantially since Texas’ own Mary Martin starred as Peter both on Broadway and in the classic NBC telecast of the mid-1950s.

Larissa FastHorse, the first Native American to have a play produced on Broadway (The Thanksgiving Play in 2023), heavily changed the book last year to reflect a more modern and fiercely confident perception of the female roles, and also the strength of Native Americans—most notably the Tiger Lily character who proudly asserts “We keep our cultures alive in Neverland!”

The wonderful Bailey Frankenburg, who plays Tiger Lily, is an enrolled member of the Choctaw Nation in real life. Perhaps she was cast in the role not only for outstanding performance but also in response to Larissa FastHorse’s request that theaters hire at least one Indigenous artist for her productions, and also present an Indigenous artist’s work in whatever building that produces her work. It is heartening to know that theaters are still being held accountable to the list of BIPOC Demands for a more equitable theatre world.

Some of Carolyn Leigh’s lyrics for the original ‘50s musical score created by Morris (Moose) Charlap have also been adapted to reflect the new characterization of females and Native Americans. As just one example, the original title “Ugg-a-Wugg,” a big song and dance number about the new friendship between the Lost Boys and the Native Americans, was changed to “Friends Forever.”

But many other well-known favorites have the same sing-along appeal as “ I Gotta Crow,” “Neverland,” and “I Won’t Grow Up.” And “Hook’s Waltz” is still a punchy tune performed by the dastardly Captain, his hooked “hand” raised in gleefully monstrous defiance against Peter Pan.

The entire cast is a wonderfully talented ensemble of performers—all Broadway belters who can dance. My young guests were fully absorbed in the singing and dancing—so caught up in rapt amazement that it appeared they never blinked or looked away from the excitement. And they expressed particular delight when the wily crocodile finally devoured Captain Hook.

Fave funny moments for the kids were the silly antics of the Lost Boys and the gawky, marauding pirates. And when Peter Pan asked the audience to clap to keep Tinker Bell alive (her light had begun to go out after she knowingly drank poison meant for Peter), my booster-seated buddies clapped their hands as if Tink’s life depended on it!

Perhaps their biggest thrill was the silver fairy dust blasted into the audience at the show’s finale. Large pieces of silver confetti flooded the audience, and my boys had great fun trying to pick up as many pieces as they could to take the magic of Peter Pan home with them as we left the theater.

Just as Peter Pan will never grow old as a symbol of eternal youth, this production of Barrie’s theatrical gem will, no doubt, endlessly enchant audiences hoping to hold on to those “Neverland” moments of youthful innocence, freedom, and joy.

WHEN:  December 25, 2024 – January 5, 2025
WHERE:  The Music Hall at Fair Park, Dallas
WEB:  broadwaydallas.com