Peter and the Starcatcher
Written by Rick Elise
Directed by Roger Rees and Alex Timbers
Where: Brooks Atkinson Theater, New York City, NY
When: Wednesday, September 5, 2pm
There is something revelatory and invigorating in watching the troupe of twelve actors in Broadway's Peter and Starcatcher tell a story. We feel as if we've been transported back in time and are witnessing storytelling in its most basic form. With some ropes, a pineapple, two small model ships, and very few other props, a prequel to J.M. Barrie's beloved classic Peter Pan is acted out in front of our very eyes and done so in such a manner that, with the exception of some brilliant lighting techniques, could have been done centuries ago. Yet, there is a freshness and wonderful sense of ingenuity that feels more unique and exciting than some of the technological advances that currently grace the Broadway stage (I'm looking at you, Spiderman: Turn Off the Dark).
As our tale begins, we meet young teen Molly (played quite believably by twenty-something Celia Keenan-Bolger) and her father Lord Aster (Rick Holmes) as they embark on a sailing trip for Her Royal Majesty Queen Victoria. Their job: deposit a chest filled with an secret, powerful item into the deep blue sea -- a place no one can ever access it. Through a series of unfortunate events, Molly and her father find themselves on separate ships both of which harbor folks who will do all that they can to get their hands on this secret case, including the infamous pirate Black Stache (Matthew Saldívar). Along the way, Molly meets three orphaned boys who attempt to help her both reunite with her father and prevent the Queen's cargo from being confiscated.
While Act I of Peter and the Starcatcher takes place on ships, Act II shifts to the tropical island of Rundoon, and despite the set utilizing minimal backdrops and, as mentioned above, very little props, you are always well aware of where you are in the story and what is going on. The actors rely on sounds, lighting, and props such as ropes in order to convey everything that we need to know. Humans become actual doors that are opened/pushed aside to reveal strange goings-on inside the rooms of the pirate ship. Ropes are manipulated to become the small confines of a cramped chamber that houses both Molly and her nanny, Mrs. Bumbrake (Arnie Burton). These ingenious techniques may not sound like much on paper and they are, in fact, very difficult to describe, but they work so fluidly and effortlessly and they convey exactly what they need to in order to make the show work.
Of course, part of the reason for the success is the brilliance of the acting ensemble. Not only must they act out their roles, but they are essentially putting on a well-choreographed quickstep every night the likes of which you rarely see on a stage. Celia Keenan-Bolger's Molly is perhaps the figure around which the story revolves and as the lone female in the group, she doesn't let the boys upstage her, blending in perfectly with the cast. She's the perfect amount of precociousness, intelligence and wide-eyed wonder combining to create a wonderful character who is a pleasure to follow on her journey.
While Molly is very much the key figure of Act I, Act II shifts focus to one of the orphaned "lost" boys who, until this second act has remained nameless. However, as Act II unfurls, Boy picks up the name of Peter and we slowly see this solemn boy's transformation into J.M. Barrie's most famous character. Peter is played by Adam Chanler-Berat and, rather surprisingly, he's the weak link in both the story and the cast. Chandler-Berat's Peter is quiet, subdued, and oddly wimpy -- nothing like the outwardly joyful and boisterous Pan we're used to seeing. Granted, I understand this is the backstory that made Peter into the "Boy Who Never Wants to Grow Up," but he's so morose here that the character is too much of a downer amidst the whimsy elsewhere. I'm sure Chanler-Berat is simply playing this dull character the way it was written, but his too-quiet line deliveries coupled with his oddly depressing interpretation make Act II a tiny bit of a letdown. I understand that Boy's transformation into Peter is the emotional crux of the story and his journey from an abused orphan to ebullient youth is where the playwright roots the play's heart, but this solemn plotline stands in such strong contrast to the rest of the play (including an uproarious Act II opening song featuring the cast as mermaids) that it almost comes as too much of a shock to the system to deliver the full impact likely meant by the author.
I realize that the whole previous paragraph comes off as quite a disappointment, but the play overall is a joyous treat to watch. And, shockingly, I've gone through this entire review only once mentioning the play's over-the-top and scenery-chewing villain -- Black Stache. Played by Matthew Saldívar with gusto, the precursor to Captain Hook is, as one of my fellow theatergoers mentioned, Monty Python-esque in its sheer absurdity, yet the playwright and director manage to make this larger-than-life character mesh incredibly well with the rest of the cast.
Peter and the Starcatcher truly is a thrillingly "low-budget" piece of theater that really makes you appreciate what a talented group of actors and an incredibly adept director can do with very little other than their natural innate talents. Mixing humor, drama, and a few cleverly placed original songs (which I failed to mention other than in passing, but added quite a bit to the affair), there is a reason this was the most Tony-nominated American play ever and its five Tony wins were likely well deserved.
While Act I of Peter and the Starcatcher takes place on ships, Act II shifts to the tropical island of Rundoon, and despite the set utilizing minimal backdrops and, as mentioned above, very little props, you are always well aware of where you are in the story and what is going on. The actors rely on sounds, lighting, and props such as ropes in order to convey everything that we need to know. Humans become actual doors that are opened/pushed aside to reveal strange goings-on inside the rooms of the pirate ship. Ropes are manipulated to become the small confines of a cramped chamber that houses both Molly and her nanny, Mrs. Bumbrake (Arnie Burton). These ingenious techniques may not sound like much on paper and they are, in fact, very difficult to describe, but they work so fluidly and effortlessly and they convey exactly what they need to in order to make the show work.
Of course, part of the reason for the success is the brilliance of the acting ensemble. Not only must they act out their roles, but they are essentially putting on a well-choreographed quickstep every night the likes of which you rarely see on a stage. Celia Keenan-Bolger's Molly is perhaps the figure around which the story revolves and as the lone female in the group, she doesn't let the boys upstage her, blending in perfectly with the cast. She's the perfect amount of precociousness, intelligence and wide-eyed wonder combining to create a wonderful character who is a pleasure to follow on her journey.
While Molly is very much the key figure of Act I, Act II shifts focus to one of the orphaned "lost" boys who, until this second act has remained nameless. However, as Act II unfurls, Boy picks up the name of Peter and we slowly see this solemn boy's transformation into J.M. Barrie's most famous character. Peter is played by Adam Chanler-Berat and, rather surprisingly, he's the weak link in both the story and the cast. Chandler-Berat's Peter is quiet, subdued, and oddly wimpy -- nothing like the outwardly joyful and boisterous Pan we're used to seeing. Granted, I understand this is the backstory that made Peter into the "Boy Who Never Wants to Grow Up," but he's so morose here that the character is too much of a downer amidst the whimsy elsewhere. I'm sure Chanler-Berat is simply playing this dull character the way it was written, but his too-quiet line deliveries coupled with his oddly depressing interpretation make Act II a tiny bit of a letdown. I understand that Boy's transformation into Peter is the emotional crux of the story and his journey from an abused orphan to ebullient youth is where the playwright roots the play's heart, but this solemn plotline stands in such strong contrast to the rest of the play (including an uproarious Act II opening song featuring the cast as mermaids) that it almost comes as too much of a shock to the system to deliver the full impact likely meant by the author.
Peter and the Starcatcher truly is a thrillingly "low-budget" piece of theater that really makes you appreciate what a talented group of actors and an incredibly adept director can do with very little other than their natural innate talents. Mixing humor, drama, and a few cleverly placed original songs (which I failed to mention other than in passing, but added quite a bit to the affair), there is a reason this was the most Tony-nominated American play ever and its five Tony wins were likely well deserved.
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