![]() In the early stretches, they may mislead some into thinking the whole thing will stay on the surface, a nonsensical shaggy-dog story. The antic attitude and seemingly impromptu facetiousness may not be to all tastes. The show is never so goal-oriented not to stop for a playful digression or interlude. "Peter and the Starcatcher" also shows a strong influence of English music hall in its punning wordplay and incidental ditties (the buoyant and reminiscent music is by Wayne Barker), with a touch of Monty Python foolery in such aspects as the toss-the-cat routine and the old-style travesty drag of pirates dressed as mermaids. While by its nature a much lighter entertainment, "Peter and the Starcatcher" is in the same literate and imaginative tradition of ensemble storytelling. It's enlightening to recall Rees starred in "The Life and Adventures of Nicholas Nickleby," the Royal Shakespeare Company's epic two-part Charles Dickens adaptation that became the greatest London and Broadway sensation of the early 1980s. Yet as directed with imaginative flair by Roger Rees and Alex Timbers, the show is predominantly driven by the sheer imaginative force of a dozen players creating this fantasy world with their acting skills, ingenious staging and a few simple props resourcefully employed. Part of the fun is discovering how the show will explain elements key to "Peter Pan" - Tinker Bell, the crocodile, how Hook loses his hand, which in this version has nothing to do with the croc. Barrie's "Peter Pan" that conjures a back story for that classic: how a no-name orphan became the ageless and airborne Peter, how he joined forces with a headstrong lass named Molly (later the mother of Wendy) and how he first crossed paths with notorious pirate Black Stache, who'll become his archenemy Captain Hook. Rick Elice wrote the play, based on Dave Barry and Ridley Pearson's novel, a playful prequel to J.M.
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