By MARIA SCIULLO
Peter Pan, the beloved musical about a boy who refuses to grow up, flew into the Benedum Center for the Performing Arts Tuesday on much more than “faith, trust, and pixie dust.”
It had something for everyone: sword fights with pirates, bold young ladies capable of doing their own rescuing — thank you very much — bouncy songs to entertain the youngins in the audience, some wistful tunes for the grownups, and a comedy performance of Captain Hook and Smee that was among the highlights of the evening.
But first, a bit of context. Scotsman J.M. Barrie wrote a 1904 play, “Peter Pan, or the Boy Who Wouldn’t Grow Up,” and several subsequent fictions. This led to a 1911 novel based on the story, which featured themes of gender roles in society and a study of what is gained and lost as we age. So, it is far more than just a bedtime tale of the three Darling siblings — Wendy, John, and Michael — as they follow the magical Peter Pan to Neverland one night.
Directed by Lonny Price, Peter Pan has now sailed into the 21st Century. There are references to iPads and corporate dinners, and the book update is by Larissa Fasthorse, co-founder of Indigenous Direction. Remember those cringey “Indian” references over the years? Native American princess Tiger Lily still lives in Neverland but is hardly a walking stereotype. Bailey Frankenberg, who plays Tiger Lilly, is Choctaw and an enrolled member of the Cherokee Nation. “TL,” as she’s called, is more than a match for Peter.
There have been many interpretations of the tale over the years, the best known being Disney’s 1954 animated version and the 1955 NBC broadcast of the Broadway musical starring Mary Martin.
Kruz Maldonado as Peter Pan | Image credit: Evan-Zimmerman
The traditional casting of the title role has been female; indeed, Come From Away Tony nominee Jenn Colella took flight in CLO’s production here in 2019. But there have been boys playing the boys as well, and Kruz Maldonado was more than up to the task on Tuesday’s opening night.
Peter Pan’s score by Morris “Moose” Charlap, and Carolyn Leigh (with additional lyrics by Betty Comden, Adolph Green, Amanda Green, and additional music from Jule Styne) was conducted by Jonathan Marro.
It provides a real workout for the title character: Maldonado sang two solos (“I Gotta Crow” and the lovely “Neverland“) and was part of four other numbers before intermission. In Act 2, there is a reprise of “Neverland” but also the somber “When I Went Home.”
Maldonado’s clear tenor did justice to the material, even flipping it upside-down.
He had spritely energy to match the excellent flying special effects. He seemed eminently comfortable while suspended 20 feet in the air. Paul Rubin created the flying Choreo, and Anna Louizos’ scenic design is a treat. Lorin Latarro choreographed the earthbound numbers).
This production’s Wendy has her sights set on becoming a surgeon someday. Aubrie-Mei Rubel approaches the role as a young woman who knows what she wants but, despite living in 2025, realizes certain traditional roles are expected of her. She is happy to play “the mother” to a bunch of boys who appear to be roughly her own age and is realistic about Peter’s lack of enthusiasm to be “the father.”
Owen Suarez (John) and Zaynn Arora (Michael) are adventurous little brothers with high-flying skills of their own. Shefali Deshpande is the mother who grieves, representing all mothers of Lost Boys.
Then there are Hook and Smee, which are truly a delight. Cody Garcia plays the dual roles of the Darling dad, which is tradition. But playing Hook has to be one of the most fun challenges in theater (or TV and movies). Garcia tackles it with panache and a great tarantella. Smee (Kurt Perry) is his nervous counterpart, whose frightened reactions range from squeaky to something in a range only dogs can hear.
The production is eye candy from the start, with the Darlings’ bedroom crammed with furnishings of the comfortably well-off. Neverland is a bright green tangle of hills and vines and a neat underground hideaway. And, of course, there is that very cool crocodile who slithers across the stage now and again….
TICKETS AND DETAILS
Peter Pan, part of the Pittsburgh Cultural Trust’s PNC Broadway in Pittsburgh series, plays at the Benedum through April 6, 2025. Tickets are available at at https://trustarts.org/production/94990/peter-pan and 412-456-6666.
Categories: Arts and Ideas, Reviews
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