Theater Review: Peter Pan

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By Phil Dorian
Phoenix Productions’ “Peter Pan” is the first Count Basie Theatre show following the announcement of the venue’s ambitious expansion plans. Uplifted – literally and figuratively – by Jennifer Townsend’s captivating performance, the transformation has begun…from the inside.
Ms. Townsend is in her mid-20s. Based on Cathy Rigby having played Peter Pan to near 60 (even Mary Martin was 41), Ms. Townsend could be flying about, captivating Wendy and her brothers (and audiences) for three more decades. Don’t wait; catch her debut outing in Red Bank this weekend. If you can get a ticket, that is.
A quick summary: Peter Pan returns to the London home of the Darling family where he had left behind his shadow. He awakens Wendy, John and Michael and flies them off to Neverland, home of Peter, his Lost Boy pals, a band of friendly Indians (Native-Neverlanders?), played by a coterie of pretty young women, and the dastardly Captain Hook and his Pirate crew. Spoiler alert: the good guys eventually vanquish the Hook gang.
Peter is traditionally played by a female, and his boyish persona is well served by Townsend. She’s uninhibited as the dashing young fellow that even demure Wendy (Jordan Gilbert, just right) wants to smooch at first sight. And if not then, surely after Townsend’s Peter Pan wins over everyone in earshot with “I Gotta Crow” and “Neverland.”
Flying is essential to the show, and Phoenix has not skimped. Peter’s exhilarating entrance is eclipsed soon after by his and the children’s “I’m Flying” while suspended on barely visible wires. (Even if they were clotheslines you’d hardly notice. Townsend is as poised aloft as she is on the boards.)
Michael Patierno’s Captain Hook, less of a smarmy dandy than others I’ve seen, is in fear of the croc responsible for his missing extremity, but his villainy is unquestioned (except by first mate Smee, an amusing Todd Aikens). Patierno sings (and enunciates!) the role very well, including one of the plumiest lyrics ever written when the character refers to himself in “Hook’s Waltz” as “Mrs. Hook’s baby boy.” Think about it.
As John and Michael, Michael Friedman and Jack Sweeney are as natural as any two flying, singing boys in white nightshirts could be. Others who excel in the large talented cast include Rachel Brown as Mrs. Darling (and later Wendy, alas, grown up) and Patricia McCarron as the spritely Tiger Lily, whose “I Gotta Crow” duet with Peter is a gem. And for a double-take flash-by, brothers Noah and Josh Ferro appear as twin Lost Boys.
A&E-PHIL.PAN-11.19Shifting designer Andrea Nice’s spare, effective sets by hand as scenes are beginning or ending covers gaps smoothly. Anthony Calicchio’s busy lighting is inconsistent (Hook poisons Peter’s medicine in the dark), but the starry backdrop is a nice effect, and applause-applause for Tinkerbell being a reasonable light beam rather than a jittery laser. Colorless pretty much describes the costumes. Except for Hook’s dark red longcoat and one Indian girl in bright red, shades of brown predominate. Hardly eye-catching. Even Peter is in nondescript cutoffs and a motley brown top. (Couldn’t locate a green tunic?)
James Steele’s resourceful choreography ranges from rowdy pirate hijinks to the feathered faction’s indigenous moves. Musical director Robert Sammond keeps the ensemble numbers snappy and the orchestra tight, and a heap of credit goes to director Michael Kroll for pulling everything together into a smoothly paced package. (Of course, he did start out with an advantage: Jennifer Townsend.)
Creative credits: Based on Sir J. M. Barrie’s 1903 play. Music by Mark Charlap and Jule Styne; lyrics by Carolyn Leigh, Betty Comden and Adolph Green; original concept by Jerome Robbins. An all-star lineup.
Through Nov. 22 at Count Basie Theatre, Red Bank. Friday at 8 p.m.; Saturday at 7 p.m.; Sunday at 3 p.m. Tickets ($24-$34): 732-747-0014 or online at www.phoenixredbank.com.