The story of the boy who wouldn't grow up was first adapted to the stage by the author himself in 1904 from a short work. J.M.Barrie at the time was successful as a playwright and a Scots novelist. His version has been onstage ever since, forming the basis for the Mary Martin musical (1954; TV 1955) which was actually more successful for Sandy Duncan in '79 -- 661 perfs. -- and recently proved a touring goldmine for Cathy Rigby. Most people of course are familiar with the Disney version; some even watch Spielberg's 1991 "Hook", mostly for Julia Robert's Tinkerbell. The most notable recent avant-garde revision was Mabou Mines 1996 "Peter and Wendy" -- based on Barrie 1928 novel -- which had a final revival in NYC this past winter. A larger scale non-flying update by John Caird and Trevor Nunn was performed with some success at Trinity Rep in Providence this spring. Company One's current attempt in Boston draws on this long production history. Their group creation -- no playwright is credited -- is for the most part barely acceptable. Its motives are sketchy, its style uneven and only partially realized. This troupe of young artists aspires to a new vision of professional theatre which integrates physical acting and multimedia production. Their reach exceeds their grasp, and in the case of "Pan" the result is a disappointing show, unsure of its audience and almost banal.
The production begins problematically in the un-air-conditioned lobby of the BCA basement theatres, where a small bedroom done at the level of high school stagecraft is set on a platform. The audience is seated either to one side, sitting on the floor, or standing against the wall. The script seems unsure what century the show is set in, but the children all sleep in the same bed. The play begins with Ryan Garvin , the only real kid in the company, as Michael Darling playing a video game simulated by a flashing light box on the wall something like a bar sign. Things don't get much better, though Peter's shadow, animated by Takeo Kushi in a Spandex black bag has potential. Tinkerbell, when she appears in the person of Chiara Durazzini, after having been introduced as a dim laser, also promises to be entertaining speaking her own fairy gibberish which only Peter understands. An African-American actor, Ozzie Carnan as Pan is easily the most accomplished member of whole cast, and carries much of the action in this first scene singlehandedly. Another African American, Kristian Williams , as John Darling, has his moments, but as the tallest member of the cast of boys, simply sticks out. Medina Mahfuz as Wendy is clearly in charge of her brothers, but seems to be playing herself rather than a character in a fantasy. The parents unfortunately also make an entrance which might have been better done through voices off, like Nana the dog's barking.
Things get more fanciful when the audience is lead into the Black Box Theatre, which has been turned into Wonderland by set designer David La Count. Unfortunately half the seats are across the set which features a small stream of real water running down the middle. Once the audience is safely stowed -- and wondering why there's a huge screen at the end opposite the unfortunately not well hidden control booth -- the Lost Boys, including a few tomboys, tumble in. We soon discover what the screen is for. Rather amateur videos prject scenes inside the boardroom of that corporate pirate, Hook. He and his cohorts are plotting to seduce the boys into the pirate's life by advertising, so far without much luck, not to mention the loss of Hook's hand to Pan and the Crocodile. The boys next proceed to shoot down the Wendy bird at Tinkerbell's behest -- not altogether convincingly -- , build her a house at Peter's command, whereupon she wakes up to agree to tell them stories and be their mother. They then act out the climax to Cinderella, one of the better scenes
The show, probably due to group creation, lurches from incident to incident interrupted by videos of the pirates scheming until it's time to resolve the plot, without either the Indians or the Crocodile. A de facto relationship between Wendy and Peter playing the parents to the Lost Boys develops, but without chemistry between the young actors, there's little drama. The most interesting of the "boys" is Tootles, played with wide-eyed charm by Chelsea Maher, a Brookline High student. The least likely are Mark VanDerzee as Slightly and Rich Arum as Stubs. The former, a company founder, is the Tech Director at Brookline, the latter, a Company One veteran, turns out to be an undercover pirate.
The climax, which begins when Stubs calls Hook on his cell phone, is theatrical. The prow of Hook's ship crashes through the screen and the man himself, T. J. Schubert appears, dressed in black, with long hair, beard, and hook, while his black clad crew of adults seen in the videos rounds up the boys. A gang plank unfolds and the reluctant recruits are herded in. But of course, Pan frees them, apparently killing several pirates inside the ship. There's much tumbling and to do, but no Crocodile appears as the pirates retire in disarray. The story is over, Wendy has decided it's time to take her brothers home, and Peter gets his first real kiss, the epiphany for a relationship that exists more in retrospect than onstage.
Given Company One's penchant for incompletely realized elaborate productions and the exploration of youthful uncertainty, especially concerning gender -- the two may go together -- not much was expected of this show. Their attempt to update the pirates falls flat. The young cast works hard and individual moments have charm. No one is totally miscast, though older members of the company don't make convincing boys when playing with the real thing. The production is acceptable for family audiences, despite the implied violence true to the book. Lighting is flashy but not particularly refined; David LaCount's Wonderland needs to envelop the audience as well to be effective. Ozzie Carnan is a young man to watch; given the promise he shows as Peter, he might really shine in a physical role with rigorous direction. Company One should concentrate more on basics and get dramaturgical help before their next project.