Since author J.M. Barrie originally published the story of Peter Pan in 1904, audiences around the world have been captivated by the story of the boy who refused to grow up, instead spending his days fighting pirates, playing with fairies, and wrecking havoc with the Lost Boys on the infamous island of Neverland. 

In the last hundred and some-odd-years, the story of Peter Pan has been adapted several times, each time enchanting a new generation with the help of a little faith, trust, and pixie dust. This time, the lovable musical has taken a swing at offensive stereotypes included in the original story, and instead opted to modernize it for today’s audience. 

With additional book writing from Larissa Fasthorse and directed by Lonny Price, this version of Peter Pan is set in the present day United States, allowing for not only diversity in casting (as opposed to the original setting of Edwardian England), but removes the offensive stereotypes about indigenous people and traditional gender roles. 

Nolan Almeida takes on the titular role as Peter Pan and artfully keeps the integrity of the cocky, arrogant, yet still boyishly charming, character we’ve come to know. Whether it’s chasing his shadow (which is it’s own visual masterpiece, thanks to the prosecution’s flawless technical team), begging the audience to believe in fairies (Tinker Bell design by Paul Kieve), or leading the Lost Boys on their next adventure, Almeida has the energy of a bouncy super ball, darting across the stage as he flits from one thing to another at rapid fire speed. Coupled with Peter’s annoyingly catchy musical numbers like “I Gotta Crow,” “I Won’t Grow Up,” and “I’m Flying,” Almeida is utterly endearing. The production includes original music and lyrics by Morris (Moose) Charlap and Carolyn Leigh respectively, as well as additional music from Jule Styne, and additional lyrics from Betty Comden, Adolph Green, and Amanda Green. 

Wendy (Hawa Kamara), John (the darling William Foon at this performance), and Michael Darling (the precious Reed Epley at this performance) are all a part of the production’s twenty first century makeover. Thanks to costume designer Sarafina Bush, the Darling children still pay homage to the original characters and their well-known costumes, but this time with a touch of practicality, thanks to men’s dress shoes for the previously barefooted-top-hat-wearing John, a convenient carrying strap for Michael’s beloved teddy bear, and a pair of sneakers that match Wendy’s still-blue hair bow. 

But it’s not just costumes that have received a modern makeover. In this version, Wendy dreams of becoming a surgeon, and her knowledge of sutures, rather than needlepoint, allow her to sew Peter’s shadow back on. Unlike the sweet British darling of Wendys’ past, Kamara’s Wendy is sassy and empowered while still keeping a touch of the childhood innocence and desire to dream of lands far far away. 

In this production, Captain Hook is played by Cody Garcia, who has decided to give the infamous one-handed pirate a thick Scottish brogue I didn’t know I needed to hear. As he bumbles around giving orders to his band of pirates, his flamboyant energy is a little bit Jack Sparrow, a little bit 1953 animated Disney Captain Hook, and a little bit of his own creation. Combined with his dynamic physicality and enough comedic timing to keep the adults entertained, Garcia steals the show.  

In previous versions of Peter Pan, the “Indians” on the islands were depicted as violent and aggressive savages. This time, offensive and insensitive musical numbers have been replaced with “Friends Forever.” Led by Tiger Lily (Raye Zaragoza), the song explains that each indigenous person in Neverland is a protector of the island, the last of their respective tribes, and that Neverland’s power keeps their cultures alive until it is safe for them to one day return home. 

Let’s get one thing straight though - the story of Peter Pan is ridiculous. It always has been. Bumbling pirates, a flesh-hungry, clock-swallowing crocodile (historically played by a person crawling across the floor in a ticking crocodile suit, this time by Christina Hélène Braa), and sword-fighting children aren’t exactly sophisticated when compared to other theater mainstays. But it is this childish charm that has allowed Peter Pan to become a permanent fixture in pop culture for over a century. What better way to tell a story about a boy that won’t grow up than by using a script that is accessible and easy for young children to understand? The question is how to make such a story appeal to adults. How can we care about believing in fairies when there are so many horrors facing us in day-to-day life off the stage? 

Fortunately, the new touring production of Peter Pan manages to answer this question: serve up a visual feast. In creating the island of Neverland, the technical elements in this production are paramount to its success. Fortunately, scenic designer Anna Louizos, lighting designer Amith Chandrashaker, sound designer Kai Harada, projection designer David Bengali, flight directors Rick Sordelet and Christian Kelly-Sordelet, and flight sequence choreographer Paul Rubin have more than risen (no pun intended) to the challenge. As they create the forests of Neverland, Peter Pan’s secret hideout, Captain Hook’s pirate ship, and fly four children to the second star to the right (and straight on till morning), audiences are transported to this enchanting world with a sort of giddy energy. We know these children aren’t really flying, and yet, as we watch Almeida artfully flip, glide, and soar through the air, we can’t help but believe that all it takes really is thinking lovely things, and our hearts will fly on wings.

Peter Pan will run at the Durham Performing Arts Center through Sunday, March 3, 2024. Tickets can be purchased here. Please note that children under the age of 6 will not be allowed at this performance. 

Additional production photos can be found below. All photo credit to Matthew Murphy.