By Alisha Hagey and Jason Hagey
Some of us have never grown up or have insisted that even though aging takes place, we don’t have to let go of the wonder and awe in exchange for woeful cynicism. This is the joy within the Creekside Theatre Group’s Creekside Theatre Fest production of Peter and the Starcatcher (in conjunction with the Cedar Hills Cultural Arts Citizens Advisory Committee, the City of Cedar Hills, and Liahona Preparatory Academy). Where else can you go to sit in a lovely outdoor setting while listening to children play in the fading evening light than in Cedar Hills, Utah? This venue perfectly matches this story and the quality of discovery that goes hand in hand with being outside in a park. There is no pretense of high art; instead, there is fanciful, fun, and playful storytelling. A troupe of actors comes together to provide a different perspective on the Peter Pan mythos and do so with wild, improvised panache and anachronistic flair.
The year is 1885 and Queen Victoria sits on the throne (God save her!). Two ships set sail for the imaginary kingdom of Rundoon. One ship, the Neverland, houses three orphaned boys, the smart Molly Aster (daughter of Lord Aster), and a trunk full of ‘starstuff.’ The other ship, the Wasp, holds Molly’s father, the famous Starcatcher. Hot in pursuit is the dread pirate captain Black Stache who wants the treasure no matter the cost. What follows are chases, escapes, friendships, Mollusks, mermaids, magic, and even a bit of unexpected love.
Much of the story behind Peter and the Starcatcher is ingenious plot devices linking this play to its J.M. Barry play and novel. The joy and enchantment are how the playwright Rick Elice takes us there. “When I was a boy, I wished I could fly, and the notion of being a boy forever was pure delight. No homework, no chores, no responsibility, no sorrow. Now that I’m in the middle of my life, I understand what I’d have missed had I never grown up, or fallen in love, or stood my ground, or lost a battle—or written a play . . . I wanted to write a play about that, with adult language and adult challenges.” This is what the story does, with many linguistic delightful twists and turns.
In this large ensemble piece, every actor is mindful of the others. Every actor has to give and take without seeking for undo attention. That is the beauty of this cast. They are vastly respectful of one another. During a talk-back session, Susannah Castleton (Molly) made mention of how this production requires her to listen constantly and how that act of listening has made her a better actor and more aware of character. You can see that skill being honed throughout the production. There is a very present kind of ‘improv’ that goes along with this text. It creates an active sense of play on stage and requires all of the cast to be aware of one another and the story. They are supportive, energetic, and engaged within the world.
In this large cast, there are several stand-out actors. Castleton is the protagonist of the play, portraying a thirteen-year-old girl that is sometimes subtle, sometimes overt with her feminism. She believes herself a woman and is proud of the power that engenders. Castleton leads the audience through the story and keeps us engaged in the origin of Peter Pan. M. Chase Grant (Black Stache) has a natural charisma, powerful energy, and plays the affable villain of the story with whimsy and wit. His trusty sidekick Marshall Madsen (Smee) matches his energy and moods with all the levels of bumbling virtuosity we expect from Smee as a foil. Jeff Denison (Mrs. Bumbrake/Teacher) causes the audience to giggle from the moment he steps out onto the stage, but he treats his characters with the seriousness of a true comic actor. His delivery is spot-on. Kevin Peterson’s (Fighting Prawn) Creole chief spouts crazy culinary references in an accent that hearkens back to such silly characters as Inspector Clouseau, Pepe the King Prawn, and John Cleese’s Insulting Frenchman in Monty Python and the Holy Grail. The result is true hilarity at the most absurd level.
Brooke Grant (Director) invites play from her cast. She frequently has them interact with the audience, performing within the entire space of the venue and not confining their movement to just the concrete stage. Brian Hadfield (Set Design) uses this same, somewhat limiting, outdoor venue that has to serve the purpose of three productions and creates a playground. Simple props, texture, and pops of color create this veritable jungle gym that mimics the children’s play area not far away. Hadfield’s design lends itself to a sense of whimsy. Along with that child-like wonder, Jess Nielsen (Costume Design) gives almost a sense of dress-up where friends come together and play pretend. Together that is what the design team creates successfully: a sense of the young. They are aware of their audience, aware of the storytelling motifs inherent in the text, and capitalize on this idea that any child can step within and create this wondrous world.
Peter and the Starcatcher allows the audience to see themselves on the spectrum of life. From child to adult and everything in between, these characters are lovable and relatable. The larger-than-life quality enhances the enjoyment as everything and every moment in the growing-up process is filled with heightened emotion. Children and parents are sure to delight in this origin story that at times surpasses its original. Perhaps this production is best suited to older children (at times the text can be confusing, and in an outdoor venue, it can be hard to hear the linguistic gymnastics that take place at a very rapid pace). Regardless, every audience member can take flight within this lovely show about growing up (no matter what our age).
Creekside Theatre Fest presents Peter and the Starcatcher by Rick Elice
Heritage Park, 4425 W Cedar Hills Dr., Cedar Hills, UT 84062
June 18-28, 2019; Tuesday 18, Thursday 20, Saturday 22, Monday 24, Wednesday 26, Friday 28; 8:00 PM – 10:30 PM
Tickets: $10–$16
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