REVIEW: Peter Pan (A Play) – Lookingglass Theatre

     
     

Endearing young cast creates a playful Neverland

 

 

Kay Kron as Wendy in Peter Pan at Lookingglass Chicago

   
Lookingglass Theatre presents
   
Peter Pan (a play)   
     
Written and directed by Amanda Dehnert
Based on the books by
J.M. Barrie
at
Water Tower Water Works, 821 N. Michigan (map)
through Dec 12  |  tickets: $24-$62  |  more info

reviewed by Lawrence Bommer

Amanda Dehnert has adapted and staged a very faithful version of J.M. Barrie’s childhood classic (well, almost–it’s too politically correct to retain the island’s Indian tribe). It’s not just faithful to Barrie, with its multiple narrators describing the exotic and imaginary topography of Neverland, detailing the psychology of its make-believe, and providing back stories on the lesser characters like Tootles, Slightly and Smee. It’s even more faithful to the challenges of childhood, all those non-negotiable, first-time joys and fears where from moment to moment everything that happens can seem the end of the world.

It’s not just the runaway or throwaway Lost Boys who are clueless and compass-less in Neverland. It’s also the Darling siblings, the equally abandoned Pirates and their “leader of monsters” Captain Hook, still hurting from being considered nice when he knew he was nasty. Above all, it’s Peter Pan who is terrified of being “grown up and done for.” He is rightly described as “young and innocent and heartless,” which is just how the author saw the beautiful Davies brothers who he immortalized in “Peter Pan.” Barrie, more than Pewter, didn’t want them to grow up–specifically old and ugly. Only one died young and that was because he perished in World War I.

Peter Pan at Lookingglass - art workThat doesn’t mean that Lookingglass’ rampaging staging is really children’s theater, however much the inventive hijinks recall a school pageant. The few kids in the opening night audience seemed more perplexed than enraptured by the pell-mell action. A bit too hip and flippant for its good, this slickly knowing, slyly winking staging is full of in-jokes for former children. But it does capture the renegade power of children’s imagination , as remembered after the fact by Barrie and Dehnert. Practically everything that Ryan Nunn’s Peter – a true and stalwart Alpha boy with cockiness and superiority to spare – proposes is a game, if only because he’s never had anyone older than himself to sober him up into something like seriousness.

The second act in particular slows down enough to really consider the question of whether there’s a point to all these endless adventures that offer no lessons beyond winning or losing. Peter recruits Wendy to be the mother who the boys lost along with everything else (making them pockets, tucking them in, etc.). For him that mostly means telling stories even as they’re actually living them from action-packed day to dream-laden night. The stories provide stability, but then Neverland is nothing but stories: Lacking a context and contrast, they gradually lose their power to charm. At first Wendy (Kay Kron) just revels in the anarchic freedom of Neverland’s total lack of rules and expectations (”I want to DO EVERYTHING FOREVER!”). But slowly she finds that she’s becoming the thing she pretends to be, a nurturing and protective person whose homesickness is just another way to grow up. (The text says that they had no word for “love” and had to make do with “home” instead.) Neverland is a misnomer because, except for Peter, it must end and the lost boys must be found.

It’s not as preciously philosophical as it sounds because Dehnert wisely distracts from the darker doings with all the romper-room exuberance that a young and athletic cast can bring to this escape fantasy. Of course there’s the usual flying (though not on wires but rope lifts). Wendy’s house is created, as children would, entirely from chalk Peter Pan at Lookingglass - art work2drawings by the cast prettily scrawled across the stage. Lily’s (“Tiger” is now missing) escape from Skull Rock and Hook’s final showdown with Peter are performed on dangling ramps and rolling scaffolding. It’s hectic fun and child’s play in the best sense of the term.

Deliberately or unintentionally, the cast could not be more endearing. Kay Kron’s radiant Wendy shows everything she feels with all the naked honesty of open-hearted children. Jamie Abelson’s no-nonsense John recalls his father (a respectable Raymond Fox), while Alex Weisman’s silly Michael seems little more mature than this nursemaid Nana (Royer Bockus, speaking rather than barking). Thomas J. Cox’s Hook is evil incarnate, a caricature built from memories of the meanest adults the children ever met. Aislinn Mulligan’s tomboyish Tinkerbell is mute but memorable as she evolves from fairy petulance to something like battlefield heroism. Above all, Nunn’s valiant, resourceful and incorrigible Peter sets the standard for this young and able cast. We don’t want him to grow up anymore than Barrie did.

   
   
Rating: ★★★ 
   
     

 

 

Extra Credit:

        
     

   Continue reading

REVIEW: Girls vs Boys (The House Theatre and AMTP)

Cool atmosphere jilted by annoying show

 

GVB 1

 
The House Theatre and AMTP* presents
 
Girls vs Boys
 
Book/lyrics by Chris Matthews, Jake Minton and Nathan Allen
Music by
Kevin O’Donnell and Nathan Allen
Directed by
Nathan Allen
Music directed by
Ethan Deppe
At the
Chopin Theatre, 1543 W. Division (map)
thru May 9th  tickets: $15-$25  |  more info

reviewed by Katy Walsh

Break-up vs Kill. If given the consequence-free choice, would you have the uncomfortable conversation with the pending ex or just shoot him? The House Theatre, in partnership with the American Music Theatre Project at Northwestern University, presents Girls vs Boys. The lives of six teenagers unravel in a party world GVB 3 of drugs, alcohol, sex and guns. George wants to be cool. Casey wants to feel something. Jason wants his old girlfriend. Sam wants her brother’s respect. Kate wants Jason. Lanie wants safe sex. To get what they want, they pop Ritalin, slam beers, screw friends and fire weapons… all while singing and dancing. Girls vs Boys is “High School Musical” vs “Gossip Girl” where disputes are settled in the Wild West way.

Visual vs Audio: From the moment of arrival, the transformed Chopin Theatre is impressive. Collette Pollard has created a rock concert venue complete with mosh pit. Ticket holders are given the opportunity to join the party in the pit standing or take traditional audience seats. The band is visibly housed on the stage. The action will take place in an area extending in front of the band and encircling the pit. The ensemble will mingle with pit people during scenes. The visual is unique and the anticipation is high.

Then the music starts. The band is loud and it’s hard to hear the singing. There are two hand-held microphones shared between the six main characters. Without the hand-held ones, the entire ensemble is reliant on ear pieces that are inconsistent in volume. To compensate, some of the singing is more like screaming. The screechy tunes might not be noticeable in a rock concert but Girls vs Boys is a musical. Or is it?

GVB 8 GVB 2
GVB 7 GVB 9

Musical vs Concert: A musical is a play with songs. A concert is songs and play. Girls vs Boys is watching kids at a concert sing with the band, act impulsively and mess up their relationships. This show has a long playlist with in-between conversations that are predictable and trite. It’s similar to concert moments when the band goes  unplugged with an anecdote between songs. If Girls vs Boys was all about the music, dialogue would disrupt the concert flow. Unfortunately, the tunes GVB 5themselves are not memorable. Although the band jams rock, the singers project pop. The fusion is awkward. Even though the script dialogue is flawed, the excessive number of songs promotes a strong desire to return to discourse. “Say it! Don’t sing it!”

Singing vs Dancing: Girls vs Boys is more like a concert with great back-up dancers. Tommy Rapley has choreographed high energy numbers for the cast to dance their way into exhaustion. Climbing in and out of the pit, the ensemble has synchronized, gun-toting, dramatic vigor. Notably, whenever one of the guys takes drugs, their shirt comes off. It was oddly like a Public Service Announcement saying ‘don’t take drugs. They make you strip!’ The good news is the guys are ripped. The bad news is it feels like any Jason Statham movie where the weaker the script, the more he takes his shirt off. Shockingly, Girls vs Boys, shirts came off and I STILL didn’t love it!

 
Rating: ★½
 

Running Time: Two hours and thirty minutes included a fifteen minute delayed start and a ten minute intermission

Extra Credit:

  • House’s blog entries on Girls vs Boys
  • Chris Jones lists House’s 2010-2011 Season
  • Girls vs Boys production photos courtesy of John Taflan.

*AMTP = American Music Theatre Project at Northwestern University 

 

GVB 6

 

Continue reading