by Deanna Dement Myers
IRNE award winner and recipient of the 2018 Bob Jolly Award director Sarah Gazdowicz along with music director Bethany Aiken lead a cast of some of the area’s finest actors in ‘Peter and The Starcatcher’ by Rick Elice, music by Wayne Barker; based on the novel by Dave Barry and Ridley Pearson. Production Team includes Kiki Samko, Movement Coach; Kat Long, Production Manager; Allison Davis, Stage Manager; Lauren Elias, Producer; Cassie Chapados, Set Design; Cesara Walters, Props Design; Chris Bocchiaro, Lighting Design; Erica Desautels, Costume Design. Presented by Hub Theatre Company of Boston, Friday, November 2 through Saturday November 17 at First Church Boston, 66 Marlborough St.
When I was boy, I dreamt I could fly.
There is a sense of wonder upon walking into the cozy theater at the First Church of Boston. With seating arranged three quarters around the stage, the audience gets the sensation of sitting in the eaves of a large attic playroom. Mismatched furniture, layered rugs and the suggestion of a slanted ceiling reinforce that feeling.
Actors entered the stage from all directions, and with the exception of Molly Aster (played by Lauren Elias) it is unclear who is who at first. This deliberate choice indicates that this small ensemble will embody a variety of characters in telling the story. And what a story it is!
Before the Lost Boys became lost, and before Peter even had that name, a British lord, Asterly, embarks on a secret mission for the Queen (God save her!) He is bound for an Eastern island-nation on the fast British ship, the Wasp, and elects for some reason to send his beloved daughter, Molly, (and her nanny Mrs. Bumbrake) on a slower private ship, The Neverland, to meet him after his mission is accomplished. After both ships set sail, we find that the Wasp has been commandeered by pirates, and that The Neverland has a nefarious and sleazy captain (played menacingly well by Molly Kimmerling) who is not only a slaver trafficking orphans, but has also contrived a clever cargo switch so that Lord Asterly’s trunk of treasure is on the Neverland and a valueless duplicate is on the Wasp.
Once the pirate captain, Black Stache, figures out that the Wasp does not have the trunk of treasure, a madcap pursuit of the Neverland is planned. Meanwhile, Molly has found the orphan boys, and is determined to save them from their fate. She reveals that she is a Starcatcher (in training) and introduces a quasi-scientific explanation of the magical foundation for the future Peter Pan story.
What happens on stage is a wild and expertly choreographed experience. Michael John Ciszewski pulls double duty as the Smithers-like Smee and the Movement Captain of the performance. The twelve bodies on stage manage to portray over 100 characters and set pieces, creating two distinctly different sailing ships, glorious grottos, and dank cargo holds, all with their bodies and shifts of attitude. Small props or costume pieces aid in the transformations, but are almost unnecessary, as the excellent physical characterizations always let the audience know which character an actor is portraying, and when they are just a door or bilge pump. Indeed, it was easy to tell when we were on the Wasp as opposed to the Neverland, even though nothing but actor position had changed.
When an ironing board can be a gangplank and an old armoire a prison cell, the performance feels like peeking in at children at play. The whole performance had that bubble-like submersive feeling that children create when they are engaged in creating a world that makes sense to them. Sometimes things befuddled the audience, even though it made perfect sense to the actors. At times, contemporary references and theatrical inside jokes revealed to us that the company really enjoyed performing with and for each other as they told this fantastical story. It felt like a treat to be able to glimpse at wonderment and world-making, given by a talented and committed cast.
It seems unfair to single out any specific actor, as this company clearly works together as a whole. There were some particular standouts–the amusingly articulate and alliterative Mrs Bumbrake (Hub veteran Bob Mussett,) Joey C. Pelletier as the over-the-top-pirate captain, Black Stache, and the earnest Claire Koenig as Boy. While there was music, I wouldn’t consider this to be a traditional musical, though Lindsay Eagle was sweetly angelic with her offstage singing. When the whole cast lifted their voices together, the songs were transporting and served the story without overpowering the action.
Even though an actor made a plea after the performance ended to vote Yes on Question three, there did not seem any overt symbolism in the gender fluid casting. Instead it felt as if the best actor for the role took the character. I wasn’t distracted by what body was playing what gender. Instead, the story was enchanting and the storytelling compelling.
The company clearly had fun and the audience did too. This is a show that would appeal to all ages and would be delightful for even the most jaded. Catch these stars through November 17. All tickets are Pay-What-You-Can and may be purchased at www.hubtheatreboston.ticketleap.com. For information visit www.hubtheatreboston.org
