A deconstructed version of Peter Pan has freeFall combining narrative with dramatic activity and dialogue (much of it done tongue-in-cheek) with music and lyrics that advance the plot. Though lacking memorable songs, musical elements serve up the play’s episodic structure with both breaks and continuity. Still, the result is more fun to see than to ponder for meaning. A doll house illustrates the narrated scene at the London home of the Darlings. There, before an evening out, Mr. and Mrs. (stately Chris Crawford and sweet Marissa Toogood) bid goodnight to their children, who’re left with sitter Nana (a huge dog well manipulated by Susan Halderman). Soon, the youth take to their lumber slumber-coves. But sister Wendy (Garbriella Gunta, agile but weaker than usually portrayed) won’t just sleep. Peter Pan (nimble, engaging Taylor Simmons) comes looking for his lost shadow. He finds it and Wendy, whom he takes (along with her brothers) to be motherly in Neverland. There, she can tell all the orphaned Lost Boys stories as sustenance. Captain Hook (versatile Crawford) dogs Peter, whom he blames for his loss of hand, and threatens him and his cohorts. They’re saved only by threat of the alligator who ate Hook’s hand along with a loudly ticking clock. The action moves to a Lagoon, with as funny looking and singing three Mermaids as ever stole a show! Whether in a Home Under the Ground or on the Pirate Ship, searches of one kind or another continue. Dangers appear and are quenched. Philosophies concerning perpetual youth without cares vs. growing up to be adults and responsible predominate in musings and music up to and through a return to the Darlings’ Nursery. There’s still a need (met) for the audience to sustain fairy Tinkerbell’s life. but it’s not a high point compared to everyone finding a personally desired home. Like most freeFall shows, Peter Pan puts spins on a traditional piece with gumption and energy. To prepare for a completely modern sequel to join in repertory, the set (except for an inexplicable background of tiers of clotheslines strung with white men’s shirts) is mostly a wooden framework. It relies on good lighting and props (but mostly narrative) to set scenes. Director Eric Davis is able to put together by the end all the elements he has “discombobulated” from Barrie’s original play. To me, the most impressive thing to watch was Michael Raabe creating all the wonderful sound effects as well as playing and directing the music. He may have been seated at piano off to one side but his work was central to the success of this version of Peter Pan.
