the locked windows
by Douglas Messerli
Julie Archer and Lee Breuer (co-creators and
writers, based on the novel Peter and Wendy by J. M. Barrie) Peter and Wendy,
produced by Mabou Mines at The New Victory Theater, New York / the production I
attended was on May 6, 2011.
On May 6 I had tickets to see Tom Stoppard’s
play Arcadia, but when I heard of the short return of Mabou Mines’ Peter
and Wendy to The New Victory Theater (running from May 6-22), I could not
resist the opportunity to see the play, and joyfully changed my plans.
In
a strange way, although these British-based works are entirely different, there
is an odd connection between the two in that they both episodically, often
without coherent connections between changes of characters and place, present a
kind of Arcadian or pastoral world in which things were seemingly
simpler—although the characters in both are faced with complexities that they
might not wish to face.
In Peter and Wendy those complexities have to do with their childhood vision of reality. But unlike the earlier play and novel, Peter Pan, Barrie’s 1911 Peter and Wendy presents a less sweet and simpler vision of things. It is not simply that Peter, Wendy, her brothers, and the other Lost Boys who make up Peter’s band perceive things as children might, but that they sometimes all too readily have perceived the traumatic and threatening issues of the adults and the society that surrounds them.
In
this version, Peter is not just a child who refuses to grow up, but in his kind
of wise puppet guise, is a “puppet” to his own childish instance and the
longings that go with that. Like a stubborn and undeterred brat, as spoken by
the marvelous narrator Karen Kandel, he is, although always fairly charming, at
times also a selfish bully of contradictory forces.
Even Hook, in this version, is less of a free adventurer than he is
caught up in the societal whirl, a man who wants to become a figure of style, a
class-inspired man of aspirations. The wonderful Croc is a fearful villain less
because of his potential to feast on Peter Pan’s boys, than he is a figure
caught up in that same society whirl, hilariously presented as a perpetually
tangoing beast, unable to free himself from a kind of infatuation with his own
tail/tale.
The
marvelous puppetry of Basil Twist and Lute Breuer, accompanied by a whole
ensemble of marvelous players, supported this slightly fractured-
fairytale-feeling about the whole event. It is notable that, when Wendy reports
that she and her brothers want to return home, Peter considerably chastises
them and, for a few minutes, closes the open windows of their home, barring
them from returning while hinting that their parents have not been anxiously
awaiting them. In those minutes it becomes apparent that this Peter, unlike the
earlier Peter Pan, is not only mischievous, but envious and even revengeful.
When Wendy returns to the Darlings house, the first thing she does is to
pick up all the “toys,” the tokens of the children’s imagination—including the
toy soldiers, the lost boys, the stuffed Nana—pouring them back into the chest
to keep them out of reach of their insidious influences. A pall overcomes the
entire work as we realize that Pan, Tinkerbell, and their opponents are now out
there, all alone in space. There is no love, not even, any longer, a sense of
adventure!
Of
course he will return to steal away future generations, but in his eternal,
darkened childish vision, he will never find the fulfillment of home and
hearth. I cried. I wish I’d had a child along with me to observe and share his
or her experiences of this profound version of Barrie’s enduring myth.
Los Angeles, June 22, 2011
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