'Peter Pan': Still a family affair
MANILA, Philippines - Who would ever think that witnessing someone dangling from strings could instill so much awe? Then again, Peter Pan never just dangles — he soars, and glides all around the stage with utmost confidence and ease. Suddenly, it is no wonder that this single stunt is the musical’s known trademark and claim to fame. Nevertheless, under all the glittery pixie-dust effects also lies a clever reinvention of the classic tale, one that families will enjoy, and even adults, in particular, will find reason to appreciate.
The lore of Peter Pan is extensive, its history of productions just as colorful. For the curious, here’s a summary: J.M. Barrie is responsible for the green-clad hero we all know today, after having written Peter Pan in Kensington Gardens in 1906. The character was popularized by the play Peter Pan, or The Boy Who Wouldn’t Grow Up, which inspired a slew of films and even more theater productions all separate from this one, some of them being musicals themselves. Peter Pan: A Musical Adventure (book by Willis Hall and music and lyrics by George Stiles and Anthony Drewe) first opened in Copenhagen in 1996, and is the version currently being presented by Repertory Philippines and Stages and directed by Menchu Lauchengco-Yulo and Jaime del Mundo. It is only fitting, seeing as Repertory Philippines is not one to shy away from challenging productions such as Sweeney Todd and Equus.
Considering the set design aspect alone, Peter Pan is already wowing from the moment the lights dim. A mini-London greets the audience as carolers step out of the dark, and a mysterious Story Teller (Joy Virata) takes the reins and journeys everyone through the Darling household, and then to Neverland, which is so rich in geographical landmarks that every scene seems like it’s in a different country. The level of detail is ridiculous and captivating, to the point that each tree on a sandbar, rock on an island and hammock in a burrow is as important a feature to the scene as Tinkerbell is to Peter Pan himself. And the meticulousness doesn’t stop there — the outfits are purposely bright and animated to accentuate the whirling and somersaulting of lost boys, pirates, and (political incorrectness aside) Indians.
Yes, admittedly, the play is, during some segments, as cartoony as I’m making it out to be. But it is self-aware and self-assured in its styling, and really, when has Peter Pan ever been anything but a familial affair? Accompanying the orchestra during premiere night were streams of giggles from all the children watching, and urgent whispering to parents asking where Peter Pan was going whenever Sam Concepcion (as the eponymous character) took off. His chemistry with Tippy Dos Santos (who played Wendy) was a delight to watch, and both pulled off being deceptively young quite well.
In this version, Wendy and Peter Pan’s friendship provides the crux of the story, and the two remain engaging all throughout — a testament to the actors’ abilities. Perhaps one of the few missed opportunities of the play is that younger brothers John (Nacho Tambunting) and Michael (Alessa Zialcita) get their own growing-up stories shafted, and they get lost among the Lost Boys. But I suppose that with more than 10 named characters to deal with, the musical would run too long trying to squeeze in plotlines for them.
Instead, the character who shows unexpected growth in the play is Captain Hook (Michael Williams), a crowd favorite whose lines were positively Shakespearean and laden with clever remarks, which the adult theater-goers appreciated. You can’t help but sympathize with him, even during the ironic number A Pirate With A Conscience, and the play really does go into what makes Captain Hook tick (that was coming from a mile away and you know it). Williams cracks up the crowd with a mélange of expressions visible even under a twirly mustache, feathery hat and lots of eyeliner.
If you think about it, Peter Pan really is a sad tale, with a sympathetic main character, and the musical does not hesitate in conveying this, leading to some heartbreaking scenes and an unexpected ending dissimilar to other versions. Aging isn’t lambasted, but appreciated alongside youth, though not everyone is happy. There is no holding back, and while kids nod along with Peter Pan’s speeches about not wanting to grow up, us older viewers find solidarity with the entire Darling family. You may be unprepared for the startling clarity the play chooses to end with, so when Peter Pan escapes through the window, don’t be surprised if you look on with the same wistful glance.
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Peter Pan will continue to run in the Meralco theater from Oct. 14 to Oct. 30. For tickets, contact TicketWorld at 891-9999 or visit http://www.ticketworld.com.ph.
