Review By M.T. Bennett, Front Row Reviewers
Utah Metropolitan Ballet’s Peter Pan is an enchanting reimagining of the beloved J.M. Barrie classic. It blends whimsy, youthful exuberance, and stunning choreography into a timeless tale. Under the artistic direction of Jacqueline P. Colledge, this ballet floats effortlessly between the fantastical world of Neverland and the grounded reality of London, offering a magical experience for the young and the young at heart.
Peter Pan was originally created for the stage as a play that premiered in 1904. Due to the success of the production, Barrie adapted it into a novel in 1911. Despite having its genesis in theater, it wasn’t performed as a ballet until 1989. This particular ballet is composed by Silvio Amato in 2007 and exemplifies the melodic magic needed to create Neverland.
Two of my sons, ages eight and five, were able to join me at UMB’s Peter Pan. All week we looked forward to attending by watching the old Disney movie and listening to the book. It was a joy to see the charm of this ballet through their young eyes. When Michael Darling (Irmuun Otgonjarfgfal) flies for the first time my five-year-old grabbed my arm and excitedly exclaimed, “Dad they are flying!” They giggled with glee as Pan stole Hook’s tricorn hat in their final confrontation. This story about never growing up is a wonderful production to see with a child.
From the moment the curtain rose, the audience is transported into the bedroom of the Darling children. I felt like the tall ceiling proportions make the audience feel like they are small children in the nursery. Hallie Jo Carvajal’s Wendy is telling bedtime stories to her younger brothers. With contagious energy and a smile that lights up the stage, Carvajal toes the line between motherly responsibility and childish whimsy. She acts as the anchor for the performance, embodying the universal pull of family while embracing the thrill of childhood fantasy. Her pointe technique is flawless and her overall talent shows why she is a principal artist in this production. I was particularly impressed with how well she accomplished the tricky task of impersonating her fellow artists and their characters as she tells her brother’s the story of Hook, Tiger Lily, the Crocodile, and Peter Pan.
Peter Pan himself is brought to life by Ryan Hatch who literally flies onto the stage. At that moment my youngest saw a celebrity in the flesh, whispering, “Oh my gosh,that is Peter Pan!”. With an impish smile, Hatch not only elevates himself but his performance inspires the whole production. Hatch just looks like he is having fun. Hiding among unsuspecting pirates, swooping around in the air, swinging a sword, interjecting himself into Tiger Lily’s pas de deux until it becomes a pas de trois. Hatch looks so full of happy thoughts that when he performs a grand jete we might have expected him to take off into the air, even without the wire. It is the perfect performance for the carefree boy who never wants to grow up.
The villainous Captain Hook (Eric Ascione) is both menacing and humorous, finding a balance between the threat of the pirate captain and the absurdity of his futile attempts to capture Peter. He is surrounded by bumbling pirates and personifies incompetence. Ascione does this skating skip/walk around the stage that looks silly and self-important. My oldest son said his favorite part was where his pirates pass him around and his knees are shaking in fear from the crocodile. The crocodile (Lucie Pearson), is a humorous personification of the slow march of time and one’s impending death. Pearson is dynamic and funny and her costume is authentic and delightful. My kids were really impressed with the articulations and movements of the tail.
Juliette McLaughlin’s portrayal of Mrs. Darling is colorful and sweet, contrasting Matteo Garattoni’s stern Mr. Darling–striking in his black and white garb. The couple’s partnership onstage is one of harmonious tension and, as a young father, I could feel the struggle in trying to get one’s kids to bed. Of course, mine are usually distracted by “one more drink of water” not a sprite-like personification of youth stealing them away.
The Lost Boys, led by Tootles (Molly Haynie), Slightly (Elle Maddox), and Nibs (Holland Fergusson), add an infectious sense of joy to the performance. The choreography for the Lost Boys is executed with cheeky humor, and brings a burst of energy to the production.
Amy Cook’s Tinkerbell is another memorable highlight. Despite Tink’s diminutive size and the fact that the entire performance is a green shining light, Cook’s presence is larger-than-life. My youngest son literally could not bear to look as Tink saves Peter from poison and drinks it herself. He was clapping as energetically as anyone to bring her back to life.
Alyssa Reid’s Princess Tiger Lily is a standout performance. Reid’s pas de deux with Great Big Little Panther (Matteo Garattoni) is a beautiful technical performance that showcases the marriage of physicality and artistry that ballet can achieve. Their performance, with Tiger Lily’s friends, is exactly what I love most about ballet.
While the performances are exceptional across the board, the ensemble work shines in Peter Pan and there are a lot of these groups. The lost boys, pirates, “wenches”, “natives”, and ocean creatures in the lagoon all contribute to the worldbuilding and environment of each scene. My favorite costumes created by costume and wardrobe directors Bonnie Nelson and Denna Demers, are the fish and lagoon animals, especially the seahorses.
The sets and scenery are provided by the Eugene Ballet in Oregon and are captivating. From the straight, solid, prisonlike lines in the Darling family’s home to the fantastical curving organic landscapes of Neverland, the scenery is visually captivating. The lighting design plays an essential role in shaping the mood throughout the evening. From the cold night lights of the Darling family’s home to the warm hues of Hook’s pirate ship, the lighting captures the essence of each scene.
Utah Metropolitan Ballet’s Peter Pan is an extraordinary production, expertly combining playful choreography, stunning visuals, and stellar performances to bring the magic of Neverland to life. The cast’s skillful performances, especially from Hatch and Carvajal, are matched only by the intricacies of the ballet’s beautiful staging. Utah Metropolitan’s Peter Pan is not just for children; it’s a feast for anyone who believes in the magic of happy thoughts, the allure of adventure, and the timeless joy of never growing up. At the end, my sons and I wanted to clap and clap, if only to see the rascal Tinkerbell one more time.
Utah Metropolitan Ballet Company presents Peter Pan.
425 W Center ST. Provo, UT 84601
October 10-11, 13, 2025 7:00 pm, matinee on October 11 2:00 pm
Tickets: $31-62
Contact: ballet@umballet.org, tel: 801-200-3442
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