Interview: Remi Wortmeyer of PETER PAN at Ohio Theatre

PETER PAN may be a story about never growing up, but BalletMet’s upcoming production offers a mature update to the children’s classic.

When the ballet arrives at the Ohio Theatre Feb. 13–15, audiences will see an edgier, more colorful take on J.M. Barrie’s classic—one that reflects how BalletMet artistic director Remi Wortmeyer’s own relationship with the story has evolved.

“I was probably 8 (when he first choreographed a version of PETER PAN),” Wortmeyer said with a laugh. “I got together all the kids from my neighborhood and choreographed it in my back garden in Australia.

“(This version is not just) fun for the kids, but for adults as well because it has that little edginess to it.”

BalletMet will perform choreographer Trey McIntyre’s vision of the ballet at 11 a.m. and 7:30 p.m. Feb. 13; 2 p.m. and 7:30 p.m. Feb. 14; and 12 noon and 5:30 p.m. Feb. 15 at the Ohio Theatre (39 E. State Street in downtown Columbus).

 This production represents an evolution in the story, not relying on nostalgia. While it has a different feel and unique staging, Wortmeyer says he believes it will recapture the belief and magic of the Barrie’s tale.

One of the defining features of BalletMet’s PETER PAN is its rotating cast, making it possible to attend multiple performances and experience markedly different interpretations of the same story.

The title role of Peter Pan will be alternated between Narciso Medina and Miguel Anya, while Sumi Ichikawa and Iris Davila share the role of Wendy. Zachary Guthier and Andrew Rossi rotate as John, with Amelie Freeman and Karla Iglesias Buela alternating as Michael.

Sophie Miklosovic and Francesca Dugarte take turns portraying Tinker Bell. Austin Powers and Vincent Van Harris will share the role of Captain Hook, while Leiland Charles and Miguel Wansing Lorrio divide time as James Hook.

The ensemble includes dancers appearing as fairies, mermaids, lost boys, and pirates, with performers rotating throughout the run to further distinguish each performance.

McIntyre’s journey to Neverland is a little more punk rock than Playhouse Disney. Pan’s green pixie hat has been replaced by a green mohawk and Captain Hook’s prosthetic hand is starker than his traditional hook.

“It’s much more like the traditional story (written by J.M. Barrie in 1902),”  Wortmeyer said. “It's got this punk ballet vibe to it, which I love.

The staging and costuming of the ballet reflects the ingenuity of Emma Bailey, who dreamed up the look for the Broadway hit SIX.

While it is a reimagining of PETER PAN, the ballet wouldn’t work without the magic of flight.

It’s one thing to make a cartoon character fly. It takes a lot more than wonderful thoughts and pixie dust to make the dancers fly in real life. Cast members will be hooked into aerial harnesses, allowing them to launch and fly about the stage.

“There’s no danger involved with it, but it’s different from a normal ballet,” Wortmeyer said. “We have elite athletes performing that with artistry.

“We devote a number of days to the technique of flight. They get used to that rhythm of being in the air, just like they would connect to a recorded piece of music.”

While this adaptation of PETER PAN is vastly different from the one Wortmeyer directed in his backyard and from the movie version most adults associate with it, the artistic director believes this production allows the audience to suspend its disbelief.

“That’s the awesome part of what we do here – we create opportunities for everyone to make magical stories that people can believe, no matter where they come from,” Wortmeyer said. “We all want to have a moment of magic in our lives.”

Photo credits: Virginia Trudeau

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