Also this issue:

A Moment Like This
City Paper's arts writers weigh in on the best of 2002.
-Janet Anderson, Debra Auspitz, Peter Burwasser, D.A, D.A.F, D.W, Juliet Fletcher, David Anthony Fox, Lori Hill, J.A, Deni Kasrel, R.R, Robin Rice, David Shengold, David Warner and Toby Zinman

The Full Monty
-Toby Zinman

Artsbeat
-Debra Auspitz

The Nutcracker
-Janet Anderson

Reading Backwards
Our book reviewers point out the year's bright spots.
-Andrew Ervin, Juliet Fletcher, Frank Halperin, Brian Howard, Elisa Ludwig, Andrew Milner and Alex Richmond

December 25-31, 2002

theater

Peter Pan and Wendy

by David Anthony Fox

He is one of history's most beloved and enigmatic literary characters. In the theater, he has been portrayed by boys, girls, and -- most notably -- middle-aged women.

He is, of course, Peter Pan. And though several other musical versions exist of James Barrie's story, the Prince is presenting the American premiere of a new one: Peter Pan and Wendy, by George Stiles (music), Anthony Drewe (lyrics), Willis Hall (book) and directed by Ted Sperling.

As the title suggests, the take here gives more prominence to the relationship between Peter and his acolyte. Wendy (Erica Piccininni) is blossoming into attractive young womanhood, and if she's not yet an ideal caregiver for a family of rambunctious boys, she and Peter make a pretty pair -- especially since this Peter is played (against musical theater tradition) by a young man (Michael Longoria), who is the kind of Justin Timberlake-like heartthrob so adored by pubescent girls.

PP&W is strongest when it stakes out new turf within the story. Ultimately the Peter-Wendy relationship remains what we expect; still, it's refreshing to see them get equal time on the stage -- and looking like an infatuated teenage couple. There are other nice touches here too, including a storyteller who provides a framing device (she is played by Rita Gardner, who was the original Girl in The Fantasticks, and her charm and lovely voice are undiminished by the passing of 40-plus years). I also like these Lost Boys, a blessedly natural, unprecious lot.

Too often, though, PP&W reverts to familiar theatrical territory. The same actor doubles as Mr. Darling and Captain Hook, and the latter character is played as a Gilbert-and-Sullivan-ish fop, just as in the famous version of the 1950s. (Christopher Innvar is excellent in both roles, but it's still a cliché.) Many of the same plot points are used for featured songs -- Peter discovering his shadow, teaching the kids to fly, building the house for Wendy, etc.

At these moments, we're forced to compare PP&W to the more familiar version, and that earlier one wins every time. These new songs are pleasant enough, but have nothing on the Styne, Charlap, Comden and Green score. And though Longoria has a decent voice and fey good looks, his performance is monochromatic and certainly doesn't challenge our memories of the luminous Mary Martin, who remains unforgettably associated with Peter.

One more thing: the flying. It's an integral part of the familiar version, and we miss it here. There must certainly be a way to do Peter without Flying By Foy, but (despite some clever direction from Sperling and nice choreography by Myra Bazell) this isn't it. For all the good intentions of everyone involved, the cast of PP&W -- and the show itself -- remains earthbound. --David Anthony Fox

Peter Pan and Wendy, Through Dec. 29, Prince Music Theater, 1412 Chestnut St., 215-569-9700