Review: Peter Pan (360 Entertainment & Broadway Chicago)

     

Now extended through July 10th!!


 

A gorgeous, high-tech canvas of oohs and ahhs

     
     

Emily Yetter (Tinkerbell), Scott Weston (Michael Darling), Ciaran Joyce (Peter Pan), Evelyn Hoskins (Wendy Darling) and Tom Larkin (John Darling) fly off to Neverland in a scene from "Peter Pan". Photo by Kevin Berne

      
threesixty entertainment presents
   
Peter Pan
   
Written by Sir James Barrie
adapted by Tanya Ronder
Directed by Ben Harrison
at Chicago Tribune Freedom Center, 650 W. Chicago (map)
through July 10  |  tickets: $20-$125  |  more info

Reviewed by Lawrence Bommer

It’s a gorgeous marriage of a circus tent, whose interior functions like a thrilling Omnimax screen in-the-round, and traditional theater magic, with trap doors and soaring flights that are more than fancy. This British-born production from 2009, which has already delighted Kensington Gardens and San Francisco, should have a happy home in Chicago all summer.

Wendy (Evelyn Hoskins) receives a gift from Peter Pan (Ciaran Joyce). Photo by Kevin BerneIts in-the-found “panto” spectacle flourishes in a huge white tent pitched in the parking lot of the Chicago Tribune’s printing plant along the Chicago River. There the two and a half hour spectacle regales audiences with glorious 3D and 360-degree projections that, sweeping us along, let us fly above London, explore the jungles of Neverland, dive under the waters around Skull Island, soar to the riggings of Captain Hook’s ship, and tumble through the clouds, accompanied by Peter, Michael, John and Wendy as, harnessed to the apex of the big top, they fly effortlessly above us.

The story they tell, of course, is J.M. Barrie’s inexhaustible novella of the boy who never grew up and the lucky children (including the audience) who get caught up in his adventures with pirates, a crocodile, mermaids and, his greatest adversary, time itself. Peter’s saga inevitably takes us back to our childhood and, just as importantly, reminds us why we had to leave it.

Inspired by the doomed Davies brothers, Barrie wrote a Dorian Gray-like fantasy in which one of the beautiful boys would never age. Peter, a once-and-future serial abductor, recruits Wendy, his latest surrogate “mother,” along with her entranced brothers, to fly with him to Neverland and tell bedtime stories to the lost boys. But Captain Hook, a stunted adult who is just as lost, also wants a mother and will poison Peter and kill the boys to get Wendy.

At the same time playing at being grownups wears thin and Wendy, Michael, John and the orphan lads slowly feel the need to return to reality. For Peter “death would be an awfully big adventure.” For them life is challenge enough.

Faithful to every delightful word in Barrie’s source, Tanya Ronder’s adaptation, abetted by a serviceable score by Benjamin Wallfisch, employs wonderful puppets (the crocodile is every bit as big as its living relatives), highwire flying, swirling swordfights, a superb video backdrop and the audience’s own unleashed imagination to do full justice to this childhood classic.

     
Peter Pan (Ciaran Joyce) shows Wendy (Evelyn Hoskins) how to fly in "Peter Pan". Photo by Kevin Berne Tinkerbell (Emily Yetter) and Peter Pan (Ciaran Joyce) fly off above London back to Neverland. Photo by Kevin Berne
Peter Pan (Ciaran Joyce) flies into the Darling family bedroom . Photo by Kevin Berne. Tinkerbell (Emily Yetter) flies above the audience. Photo by Kevin Berne.

Ciaran Joyce, a supple young British actor, makes Peter properly improper as he impetuously bursts from one adventure to another, as if boyhood had no expiration date (and he’s willed it so just to be sure). Just as exuberant but strategically maternal as required, Evelyn Hoskins is a very sensible Wendy, her prudence a counterweight to Peter’s other “girls,” Emily Yetter’s bratty and endearing Tinker Bell and Heidi Bueller’s curiously sensual Tiger Lily. Playing the most threatening (and thus mockable) adults, Steven Pacey is suitably silly, especially in his unseemly popularity competition for Peter. (Guess who gets voted off of this island?)

Lovely touches abound, like the Lost Boys’ indulging in a curious war dance about “killing grownups,” the mother-like puppet Neverbird (animated appropriately by Regina Leslie as Mrs. Darling), and a mermaid duo who try to kidnap Wendy for their own underwater purposes.

When the audience shouts out how much they believe In fairies, you sense the same splendid stagecraft that worked so well in 1904. But here state-of-the-art, cutting-edge technology makes it even larger than life and as vibrant a fantasy as memory could make it.

  
  
Rating: ★★★★
      
  

The pirates of Peter Pan, with Wendy (Evelyn Hoskins) in the background. Photo by Kevin Berne

Peter Pan continues at the Chicago Tribune Freedom Center, 650 W. Chicago Ave., through summer 2011, with performances Wednesdays @ 2:00pm & 7:00pm; Thursdays-Fridays @ 7:00pm; Saturdays @ 2:00pm & 7:00pm and Sundays @ 1:00pm & 5:00pm. Tickets range from $20-$125, Complete ticket info here.

All photos by Kevin Berne

     
     

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Review: Redmoon’s “Winter Pageant”

‘Winter Pageant’ reprises White House performances

 winterpageant

Redmoon Theater presents

Winter Pageant

By Vanessa Stalling, Frank Maugeri and Jim Lasko
Directed by
Vanessa Stalling
Through December 27th (ticket info)

reviewed by Leah A. Zeldes

pageant-swining Fresh from its triumphant Halloween performance at the White House, Redmoon Theater stages its nearly annual, alternative take on a family holiday show, Winter Pageant.

The theme of these shows over their 15-year history is always the same: Each unique pageant showcases the progression of the seasons and celebrates the return of spring — in always charming and often magical ways. The production avoids religion, hackneyed classics and Christmas commercialism and, as Artistic Director Frank Maugeri puts it, engineers "a journey that explores nature, humanity, ritual, storytelling…."

This year, perhaps because the production reprises performance elements from the troupe’s White House spectacle, much of the storytelling seems to have been lost. Instead, we have a disjointed, hour-long series of vignettes and technical wizardry. Plots have never been the strong point of these pageants, I grant you, yet usually there’s been a tale of sorts to carry the audience along.

Not only did I miss that, it became clear from the restlessness of the young audience that the kids did, too. Not that there aren’t plenty of wondrous sights for children. As the show opened and a young woman played with a toy car, I saw a father struggling to restrain his squirming 2-year-old, who wanted mightily to get in on the action.

The toy morphs into a marvelous full-sized car full of characters and cakes and a monstrous, goodie-stealing baby. Then we have a mechanical surrey with a flower garden and a bug-eating gardener on top — evidently representing summer.

pageant-boat pageant-stage

Judging by the colors and timing, next come autumnal rains and a marvelous underwater sequence that had the kids charging out of their seats. We also get some absurd pirates and wonderful illuminated hat puppets representing migrating swans. A bountiful banquet becomes a food fight. Winter, a dark and chilly sequence of crooked doll houses and shadow puppetry, follows. Spring explodes in drumming and tulips, but nevertheless seems anticlimactic.

Redmoon’s artistry is wonderful throughout, but this year’s pageant is perhaps best seen as a showcase of performance art, a series of artful spectacles, rather than a winter’s tale.

 

Rating: ★★½

 

pagenat-kids 

Note: Free parking at the theater and in a lot across the street.

Ensemble: Missi Davis, Nick Demeris, Sarah Fornace, Alexander Knapp, Matt Rudy, Eric Swanson and Dustin Valenta

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