McCoy Rigby Entertainment's Peter Pan at Symphony Hall
(out
of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 7/28/98
(out
of )There are two types of classic musicals. A great majority of them are classics because of their material. The book, music and lyrics flow well and work in a perfect harmony. Then, there are those that have achieved classic status despite their material. Perhaps the original production had a stellar star, or a chemistry that occurred during the specific production to overcome not-quite-as-stellar material. Such is the case with Peter Pan, the musicalization of the famed children's story by Sir James Barrie about the boy who wouldn't grow up, his search for a mother figure in young Wendy, and his escapades with Indians and pirates.
It's first incarnation in 1954-1955, as a tour leading to Broadway and eventual landmark television play starring the great Mary Martin, was a delightful and classic moment in American musical theatre. The work was created and revised along the route by committee, so the book, music and lyrics don't always mesh, as you'd expect from a classic. This didn't stop the show from becoming one of the great musical theatre legends.
Subsequent productions on Broadway and tour from other impish divas have seen more and more people take the original work to even more extremes. It was in 1991 that famed gymnast Cathy Rigby soared into the role, giving the part a much more impressive physicalization, if a bit less prowess at vocalization than past Peters. The result was a Tony® Award nomination. Seven years later, Ms. Rigby has once again donned her tights and fly wires, taking this production on the road with a return engagement on Broadway for the holidays. While the star is just as physically and vocally limber as ever, this production has many hitches to iron out before it finally lands on the Great White Way this November.
Despite many enchanting moments, dances and songs, under the direction of Glenn Casale and choreographed by Patti Colombo (though with enough resonance of Jerome Robbins' original), this production is burdened with many niggling problems and missteps. As a result, it seems more of a fun and occasionally impressive amateur evening than a professional touring show headed to the Main Stem.
First, despite assurances that there had been extensive changes and cuts to the script, the show still runs two-and-a-half hours, with one intermission and one five minute pause for set movement. What was an acceptable length for a show in 1954 is no longer the case for today's youth. By 9:15, a good forty-five minutes before Ms. Rigby flew in for her final awkward curtain call, a restless young man seated next to me loudly asked his mother how much longer until it was over. A cranky chorus of youthful agreement resounded in our row. In a show written for children's amusement, and hoping to capture their imagination, this is more criticism than I could ever level on my own.
Secondly, there were many technical missteps and miscues, more than can be attributed to opening night jitters. Some of Martin Aronstein's lighting cues were exaggeratedly late, a couple of John Iacovelli's set pieces noticeably swayed, offstage mikes were left on while onstage ones remained off, and worst of all, Francois Bergeron's Sound Design mistook deafeningly over-amplified for understandable.
Thirdly, despite bravura performances by Ms. Rigby, Elisa Sagardia as Wendy, and Dana Solimando as Indian princess Tiger Lily, and solid outings for the rest of the principals, such as Michael Nostrand as second mate, Mr. Smee, the cast is big and broad and a bit on the pandering side. This is especially true of the barrel-voiced Paul Schoeffler as Peter's nemesis, Captain Hook, who did not understand that less is more when wearing a chromed appendage. It's undeniable that there's little need for subtlety in performances in a show that features a dog as a nursemaid and a crocodile with a ticking clock in its belly who conveniently appears as a deus ex machina to aid plot, both played by Buck Mason. But some moments of the show, especially those involving the pirate chorus, slid across the line between broad and cheesy, a fault recognized even by most normal youths.
On the plus side, there are the abovementioned performances and moments, including the several flying sequences, made possible by ZFX, Inc. and enlivened by Ms. Rigby's acrobatic potential; the Stomp-like song and dance sequence "Ugg-a-Wugg", and the enjoyable renditions of some famous tunes.
If I were a fun critic, rather than a theatre critic, I might give this show more credit. I imagine the kids liked it, even if it went a little overlong. I was certainly enchanted by Ms. Rigby's girlishly-boyish attitude and physicalization, and found moments where smiles erupted and enjoyment grew. But, alas, I'm not a fun critic, and must look at this piece as a unified, professional, theatrical presentation; in that harsh light, there are many little, slightly unprofessional and unpolished moments that do not recommend itself as a worthy night of theatre.
If your child has a long attention span, and doesn't mind a bit of pandering, then take them, if only for Ms. Rigby's performance. If they are prone to crankiness, or dislike seeing the strings in some acting performances and many technical matters, then this might be one long evening best spent watching PBS instead.
Production Details:
Peter Pan Lyrics by Carolyn Leigh, Music by Moose Charlap,
Additional Lyrics by Betty Comden and Adolph Green, Additional
Music by Jule Styne. Book Uncredited.
Symphony Hall, Phoenix
503-5555 or 262-7272
July 28th-August 2nd, 1998 (Note: 7:30 p.m. start time
Tuesday through Thursday; 8 p.m. on Friday; 2 p.m. & 8 p.m.
Saturday; 2 p.m. and 7:30 p.m. on Sunday)