By Nicholas Whittaker
‘James and the Giant Peach’ – Words and Music by Benj Pasek & Justin Paul. Book by Timothy Allen McDonald. Based on the book, James and the Giant Peach by Roald Dahl. Directed by Emily Ranii. Musical Direction: Matthew Stern. Choreography: Juanita Pearl. Production Stage Manager: Nicky Carbone. Presented by Wheelock Family Theater at Boston University; Fenway Campus, 200 The Riverway, Boston, MA 02215 through May 12th
Wheelock labels itself a “Family Theater” company. Such a phrase may send many a “theatrical connoisseur” into a conniption, promising puppetry and slapstick humor and inane characterizations. Wheelock, to their credit, couldn’t care less what those snobs think. James and the Giant Peach is family theater at its very best: absolute, complex, emotionally nuanced, fun. This is not a production for one to plop their children in front of before dipping out into the lobby for two hours; no adult should miss the fun. Nor is it one that tries too hard to be “smart”, to betray its most earnest audience – children – with unwarranted cynicism. James is thrilling in its accessibility, forcing any audience member to embrace its ludicrous logic for the sake of a good time.
The stage adaptation of Dahl’s classic is nothing special in and of itself. Lifeless, it is not. Its book is adequately dynamic, and its musical numbers are pleasant. But the darkness of the original work is painted over with a Broadway sheen, robbing the story’s more bizarre turns – James’ parents were eaten by (notoriously vegetarian) rhinoceroses!, and each of the peach’s inhabitants has suffered a genocide at the hands of humans with RAID! – of complexity. Dahl’s greatest asset was a Grimm-like understanding of the barely-suppressed wickedness of his children readers, who were eager to be trusted with the demented secrets Dahl was so willing to pass their way. Timothy McDonald’s adaptation doesn’t seem to appreciate how nightmarish a human-sized centipede would be, content with mildly-energetic jazz numbers and cartoonish dialogue. But show tunes cannot buoy up a story made flimsy by an erasure of its emotional complexity.
Wheelock’s production, then, has to make do with a slightly neutered imagining of the source text. To their credit, the team takes on this task with admirable eagerness and panache. Brendan O’Brian in the titular role (and his partner in the role, Cameron Levesque) has a great deal of work to do as the emotional heart of the production, work he proves himself more than capable of doing. He plays the “precocious child wonder” without ever sliding into overacting, oversentimentality, or unkindness. His James is genuinely charming, holding his own against his aunts and insect companions while staying, at his core, a child. He’s well supported by the rest of the cast. His caretakers, Aunt Spiker and Aunt Sponge (portrayed by Amy Barker and June Baboian, respectively) are deviously likeable, caricatures in just the right way. Roald Dahl’s best villains have always been loveable. Barker and Baboian are no exception. In moments like the fiendishly heartfelt “I Got You,” where the two profess their own sadistic notion of love for each other, their over-the-top performance becomes grounded, paradoxically, in a kind of twisted kindness. The result is a rollickingly fun set of characters, quickly becoming audience favorites.
The band of insects are a likewise adept bunch. Ricardo Holguin’s Earthworm is a particular highlight. A perfect storm of anxiety and diva attitude (Cardi B makes a comical appearance), Earthworm soars with an unexpected charisma. Holguin’s showstopper, “Plump and Juicy,” is one of the most compelling numbers in the production. Russell Garrett plays Centipede with a cockish charm, and Cheryl D. Singleton’s Spider is a superbly calming presence. As the will-they-won’t-they pairing of Grasshopper and Ladybug, Jared Troilo and Aimee Doherty (respectively) are a delight, winning over the audience with awkward grace. The supporting cast is buoyed by a delightful ensemble of young actors, playing glee seagulls, a village mob, and even a dancing firefly. And David Jiles rounds out the cast as the narrator, Ladahlord. Jiles is well-suited for the part, sucking his audience in with vigorous aplomb and a commanding presence.
The joint creative team of Emily Ranii (director), Matthew Stern (music direction), and Juanita Pearl (choreographer) is the perfect collection of talents to shepherd this production to success. Ranii’s direction is admirably self-assured, with equal attention given both to the more technical aspects of the production (which are often quite innovative) and to drawing the best performances possible out of her cast. Her treatment of the more fantastical elements, from the peach to the insects to the final climactic scene, are all rollicking fun, and never seem forced. Ditto goes for the set design, and Stern makes the most of the source material’s somewhat middling music, guiding rousing ensemble numbers and touching solo performances. And Pearl’s choreography is exciting without being overcomplicated, perfectly suited for her younger ensemble.
Wheelock’s James and the Giant Peach doesn’t pander. It knows that its audience deserves better. Instead, it leans wholeheartedly into frenetic whimsy, understanding that “family theater” doesn’t mean “bad theater,” but rather simply requires a refusal to belittle any viewer, no matter their age. With a game cast and creative team, James and the Giant Peach is as delicious as its namesake. If it’s a little sickly sweet, then that’s a small price to pay. For tickets and info, go to: https://www.wheelockfamilytheatre.org/
