Review: PETER PAN AND WENDY at Creative Cauldron

Creative Cauldron is uplifting children’s theater and giving young actors opportunities to fly in their original, musical adaptation of Peter Pan and Wendy. However, the script could use some more fairy dust to adapt it for a modern rendition. 

Their fanciful, musical adaptation by founding artistic director Laura Connors Hull merges the 1900s play and novel created by author J.M. Barrie with original songs by Matt Conner, Creative Cauldron’s associate artistic director and composer. The “infusion” of Spanish in the dialogue wasn’t seamless, as most of the time it repeated the English phrases, but the inclusion of a second language was commendable, as it was an added skill for students to learn and use.  

For the student actors, the youngest of whom was just eight, attendance at a Creative Cauldron summer camp or prior performance experience was the only requirement. Two adult professional actors, teaching artist Ariel Friendly and Spanish coach Alan Guitierrez-Urista, supported the students by acting alongside them as Mrs. Darling and Mr. Darling/Captain Hook.

Creative Cauldron is eponymously creative with their prop work and use of their space. Scene, costume, and puppet designer Margie Jervis’s visionary resourcefulness elevated the actors: The headpiece of the crocodile costume brought extra whimsy and comedy to the creature, and Ely Tyrant’s execution of the choreography was excellently slithery. Three minimal, modular platforms efficiently served as the Darling children’s beds, the mermaid’s rocks, and the pirate ship without needing excessive scenery or manipulation by the actors.  

The ensemble was extremely well-choreographed, and it never felt like too many characters were on stage. The swords were swinging, the mermaids were swishing their tails, and the lost boys were leaping in exact and dramatic arcs.  Each actor made an impact; they always conveyed a personality while standing still in a scene and had a clear identity for their own character.

Whit Jenkins never lost energy as Peter Pan while she dashed around the stage and projected with confidence and charm. Emma Lynch as Wendy had a strong posh inflection, and her singing voice shone in her solo “Pretty House.” The voice that needed to blend in, however, was Guitierrez-Urista’s. His scenes as both Mr. Darling and Captain Hook were played at the same level of loud and angry that tended to drown out the softer-voiced actors.

While Creative Cauldron altered the original, outdated portrayal of Tigerlily and created nondescript animal “warriors,” a dated, naive misogyny still existed regarding the directing choices for Wendy and her role in the story. Peter’s repulsion and adolescence with which he addressed his “mother” figure, Wendy, was a heavy contrast to his smirking and suggestive tone when talking to the mermaids, who were vying for his attention. Understandably, the source material of classic literature can only be stretched so far, but if racial stereotypes can be taken out, then surely gender can be given a more nuanced approach as well. Perhaps the mermaids could be wary of Wendy for her lack of a tail instead of calling her ugly because she’s perceived as their competition, and Wendy could be more desperate for friendship and adventure than for a kiss from Peter? 

While revisiting and reviving classic fairy tales, Creative Cauldron prioritizes learning and experience to make their children shine like stars. To support these magic makers, tickets for Peter Pan and Wendy are available until November 23rd. 

Runtime: 90 minutes

Photo credit: William Gallagher Photo