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In a little known 1902 novel, “The Little White Bird”, the author, Mr. J.M. Barrie, introduced the world to his first iteration of Neverland’s most famous son, Peter Pan. The more modern incarnation of the flying lad came about a couple years later as a play entitled Peter Pan; or The Boy Who Wouldn’t Grow Up which introduced generations to the Darling Family, the Fairy Tinkerbell and the infamous Captain Hook.
Through countless versions on the page, on the stage and on film and television screens around the world for the past 120 years, the legendary story grew and evolved in the minds and hearts of generations of young and old alike. Theatre 29’s production of playwright Rick Elice’s “Peter and the Starcatcher” gives us all a prequel, if you will, to how the magic that created Never Neverland, Peter and the Lost Boys and that whole world came about. Based on the best-selling novel by Dave Barry and Ridley Pearson, “Peter and the Starcatcher” introduces the audience to a trio of orphan boys, Prentiss (Sabrina Olsen), Ted (Polly) and a boy so wretched and maligned he did not even have his own name (Andrew Perkins). Sold off to serve the evil king of the imaginary kingdom of Rundoon, the trio are crated onto a sailing ship, the Neverland, never to be seen again. But, of course, things do not go according to plan as pirates and misplaced treasure turns the world topsy turvy.
Debut Director Ian Ferris and Assistant Director Jericho McNeltier have created a universe that is best described as “chaos incarnate”. And with the way this story is told and the means of its’ relating, that is exactly appropriate. The walls and ceilings of the stage are awash with flotsam and jetsam of found artifacts; umbrellas, ladders, detached railings, deconstructed furniture. It is reminiscent of being in the eye of a hurricane, a center of calm while the world around is spinning out of control. His clever use of this mayhem keeps the world moving and allows for nary a stale moment. The use of interwoven white Christmas lights was also a useful stage effect to illuminate the often-starry nature of this universe.
As the action of the show is, primarily, set aboard the desks and cabins of the two sparring ships, the HMS Wasp, commanded by Starcatcher extraordinaire Captain Aster (Joseph Rego) and the aforementioned Neverland under the command of the scurrilous Captain Scott (Samantha Stevens), the performers were often utilized as a “living set,” using their bodies as walls and other settings to indicate a change of location without a physical set change occurring. Technical Director Lisa Goldberg’s lighting design was effective, allowing the tumble and crash of the seas, the frenzy of a shipboard pirate attack and a life-threatening hurricane occur on stage with a flick of a switch.
“Peter and the Starcatcher” is an unusual piece of theatre in many ways; it is a “play with music” but not a musical. There are only two sung pieces in the show as an Act 1 finale and as an Entre’ Act into the second act. Musical Director Liyan McNeltier handled the music requirements fluidly, not just the sung parts, but the underlying music that occurred throughout as undertow. Sound quality was well balanced in the auditorium, though, as often happens in smaller venues, microphone amplification would have been helpful in some spots. Cindy Daigneault’s costume design, with costume pieces provided in large part from Kathryn Ferguson as well as pirate gear by Steve Brown, looked appreciatively rag tag and weather worn.
In my estimation, the Act 2 Entre’Act, “Mermaid Out of Me” is worth the price of admission alone. Let’s just say, you’ll never look at mermaids the same way again. Stage Manager and “fairy wrangler” Nena Jimenez kept the chaos under control backstage, making the costume, prop and set changes appear as if by magic. Maybe she borrowed some of Tinkerbell’s pixie dust.
Now, with a world portrayed so dark and grim, with the haves and the have-nots so brutally entrenched as they were during the height of the British Empire during Victoria’s reign (God Save the Queen!), one might think the play might be a bit of a downer.
Nothing could be further from the truth.
I have not laughed that much in a good while. The characters are fun, ordinary and extra-ordinary in full measure. Starting with the heroine of our tale, young “Starcatcher in Training” Molly Aster, portrayed here by Eliana Hicks. I always enjoy the vitality and skill with which Ms. Hicks plays her characters, but here she really had an opportunity to sink her teeth into the role of young girl, on the cusp of becoming an adult but with the whimsy of having not quite gotten there yet. Self-assured but empathetic, Molly is the heart of the story. Miss Hicks is a treasure to watch.
If Molly is the heart of the piece, then the soul belongs to the boy who becomes Peter, here played by Andrew Perkins. A stunted boy, unloved and thoroughly wretched from a life of abuse, he appears at the beginning as the most unredeemable of the characters. But, after being shown a little caring and a little hope, the boy begins to shine. Mr. Perkins I have seen in several past performances, but never something as cathartic as this role. Your heart aches for him as his story unrolls and you cheer for him even when he is grumpy because you understand where it comes from. His chemistry with Molly, not romantic as too often becomes the default in storytelling of the opposite sex, is strong but both actors could still connect to their inner 13-year-olds who are trying to figure out who they are.
Peter’s compatriots, Prentiss and Ted, added both comedic flavor and conflict into the mix. The director chose to make casting gender-fluid, as indeed the whole play is openly exclusively to interpretation, so the “boys” here are played by women, Sabrina Olsen and Polly (that is her stage name). Olsen’s Prentiss, the boy who is certain he should be the leader even though he knows nothing of leadership, is appreciatively pushy and (unconvincingly) self-confident. Polly’s food obsessed Ted is a fun turn, their collective teamwork was effective and fun to watch.
And where would we be without our villains? The “Big Baddie” of this tale is Black Stache, expertly played by veteran actor Kurt Schauppner. True to form, he sports an enormous black moustache and it is the fulcrum of constant comedy gold. The sheer amount of facial hair puns it engenders must literally envelope pages of the script. Schauppner’s characters are always imaginative and fully fleshed, but his pirate guise is possibly one of his best. Maniacally misguided and hilariously single-minded, this “Stache” will keep you in stitches.
His partner in crimes, the single clued sidekick Smee, played by Tiffany Crocker, does his best to keep his boss on task (a never-ending fruitless job), but one this actress performs with gusto. Her facials where words fail are a tremendous asset for her here. The stoic and all too British Captain Aster, here played by Joseph Rego, added the right amount of fatherly regard for his daughter Molly and the rigidity of a commander in Her Majesty’s Service.
On the night I attended, the role of Molly’s faithful nanny, Mrs. Bumbrake, was being performed by the director himself as the actress cast fell ill and had to sit out the weekend. I must admit, having a bearded nanny being seduced by an equally bearded pirate named Alf (Dennis “Easy” Boos) was almost more than my ribs could take. The auditorium was riotous with laughter every time these two were on stage. I look forward to seeing Imelda Patu in the role next weekend. As this is an ensemble piece, the “ensemble” as it is here embodied by Donivan Cox, Samantha Stevens and Danny Enders were constantly busy and performed their varied roles with vigor and commitment. Ender’s King Fighting Prawn was especially entertaining.
For anyone who is looking for an evening of fun, pathos, frivolity and the craziest pack of mermaids you have ever seen (I’m telling ya, worth the price of admission right there!), I cannot endorse highly enough, get your tickets to “Peter and the Starcatcher”.
It is not your standard play and is not done in the standard way. Appropriate for all ages, though under the age of ten it might be a bit wordy for squirmy younger kids.
Tickets are available at theatre29.org now through April 2nd at Theatre 29 in Twentynine Palms.
