Fly Away from Reading to Neverland: Genesius Theatre Presents 'Peter Pan, or the Boy Who Would Not Grow Up'

From Genesius Theatre

Pictured above: Top row, from left to right: Timothy Spatz, Cheyenne Hails, Evan Croxton, Sarah Althen-Haggerty, Jonathan Erkert, and Luke Biely. Bottom row, from left to right: Jahlil Little, Brandon Reimer, Evan Reed, and Gabriel Moreno. Photo courtesy of Don Carrick of Studio 413 Photography

The world premiere production of Broadway’s Douglas Carter Beane’s (book) and Lewis Flinn’s (music and lyrics) adaptation of J.M. Barrie’s classic Peter Pan, or the Boy Who Would Not Grow Up, is being held at Genesius Theatre from Friday, April 10, to Saturday, April 18. Longtime Genesius Theatre actor and director and current Associate Artistic Director, James Haggerty, is the director and puppet designer.

This production — based on J.M. Barrie’s original American stage version — breathes fresh life, new perspectives, and more fun than ever before into the beloved story. Beane’s decision to incorporate playwright J.M. Barrie as a narrator reminds us of the magic artists hold and illuminates the poetic stage directions that have been hidden from audiences for well over a century. Flinn’s Americana-inspired songs and twinkling piano underscoring ground us in the world of the story before helping our hearts soar to new heights. And Haggerty’s dynamic direction and delightful puppets illustrate his key takeaway from this show: as long as you have your imagination, you never really have to grow up.

From top to bottom: Evan Croxton as Peter Pan and Cheyenne Hails as Wendy Darling. Photo courtesy of Don Carrick of Studio 413 Photography

Tony-nominated Beane, who is currently Artistic Director at Genesius Theatre, shared the following about what he’s discovered while adapting such a well-known work: “The secret of Peter Pan is: sure, it’s for kids, but really, it’s for grown-ups, as well. There is a profound depth to this story despite all its wildly enjoyable delights. As I get older, I find myself more moved by the play’s observation of aging and death. I was also surprised to discover just how deftly the source material lays into themes of gender and maturity. And despite all that, it is so wonderfully funny — eccentric, to be sure, but funny!”

Haggerty shared his vision for his collaborative, energetic direction of the world premiere: “To me, Neverland is where every lost thing goes. It’s every game of make-believe you’ve ever played; it’s every missing sock you’ve lost, every crazy idea you’ve had. In this presentation, we are really leaning into imagination and play. There is a feeling of, ‘we’re just a bunch of people playing and telling a story together.’ We’re incorporating puppets throughout the show, we fly through lifting one another, and we create the entirety of Neverland and the real world with a handful of ladders and chairs — it’s magical. We want the theatre to feel like one big toybox.”

That toybox of a theatre, as Haggerty describes it, is the preferred setting for a playwright whose work has been on the biggest and most celebrated stages in the world. “Genesius and its perfect little playhouse size is the ideal setting for kids, for families, and for first dates. It is an ideal place to start this show’s journey,” Beane said.

The melding of worlds and minds from volunteer community theatre artists and professional, award-winning creatives has been one of the most rewarding parts of the process for Haggerty. “Having the ability to confer and work with Doug and Lewis as the show was being developed has been such a joy. It’s been a great reminder that the arts community isn’t composed of two isolated circles of professionals and amateurs, but one great big bubble,” he said.

That big artsy bubble isn’t separated by skillsets or expectations either: in Genesius’ Peter Pan, half of the cast skillfully plays two or more vastly different characters, the ensemble is puppeteers, dancers, and flyers, and the director is also the puppet maker.

Haggerty shared the following about how puppets came to pass in Neverland, and how he became the master of them all: “When Doug and I first started talking about Peter Pan, he kept bringing up all the fantastical creatures in Neverland and how important it was that Nana be really grounded in her tasks as the Darling children’s nurse. We knew we couldn’t bring a dog in to do what is required, and we didn’t want to dress a performer up in a costume, so Doug mentioned puppets, and I mentioned my lifelong obsession with the Jim Henson Company. From there, it was agreed upon that I would fabricate puppets for the show. I don’t think he realized how hard I would go on them — but I am happy with how they turned out!”

Beane is happy, too. He said, “James’ puppets are off the charts great!”

Neverland and its iconic characters have been interpreted in so many different ways throughout the years. With Beane’s words, Flinn’s music, Haggerty’s direction, and Reading’s dedicated pool of creatives with day jobs and dreams, Neverland has become accessible to everyone of all ages. Visit Genesius Theatre on 153 N. 10th St. to take flight!

Performances are at 7:30 p.m. on Friday, April 10, Saturday, April 11, Wednesday, April 15, Friday, April 17, and Saturday, April 18, with 3 p.m. matinees on Saturday, April 11, Sunday, April 12, and Saturday, April 18. For tickets and more information, visit genesusdifference.org.