Once upon a time, and at no time in particular, we were all 12 going on 20. Each and every one of us wanted to kiss someone for the very first time. All of us noticed, to our disappointment, that greed and maliciousness exists. We’ve all woken up to a world where the magic we assumed sparkled everywhere, lived solely in our imaginations. We discovered that courage, bravery, and sacrifice were negotiable, not inevitable. When disillusionment and faith do battle, the winner is rarely wonder, and often detachment. The Walt Disney Co. would like to reply to this with “Hold my beer.”
Disney has nearly trademarked that moment, to varying degrees of sophistication and currently-sanctioned morality for the past 100 years. In America, they practically own it. In a time full of Jafar’s and Scar’s, Disney pushes courage, kindness, adventure, and exploration with a fervent opposition to despair. The irony of the actual corporations’ behavior as a commercial behemoth is not lost here, it’s just not the focus of this review.
Peter and the Starcatcher is a 2009 Rick Elice play based on a 2004 novel by Dave Barry and Ridley Pierson. It is set as a prequel to the classic 1911 J.M. Barrie novel Peter and Wendy, which is an adaptation of his 1904 play Peter Pan; or The Boy Who Wouldn’t Grow Up. A film adaptation has been tossed about at Disney for over a decade.
The Firehouse Theatre is staging this delightful, swashbuckling musical romp as of this past weekend through September 1st. Nathaniel Shaw returns to the play, having produced it at the November Theater nearly 10 years ago for Virginia Rep. His mastery of the material in this production is evident. Mr. Shaw makes pure creativity in the staging of it worthy of the best ideals Disney built its cultural empire on. What is clearly a total company effort comes together in perfect synergy. The performances, set/lighting design, brilliant abstractions to convey action on the high seas, excellent use of actors as props – all combined to the symphonic suspension of disbelief required to immerse yourself completely in this tale.
Shannon Schlistra in the lead role of Molly Astor, is the epitome of the postmodern Disney princess. She’s plucky, book-smart, energetic, and convinced of her moral fortitude at the beginning of her journey. Shannon seems poured into the character. She could only exude more of that Disney ‘air’ if she were, herself, a cartoon on a screen. There is depth to her longing and real conviction in her bravery. In this actors’ hands, the character felt true and was a joy to watch.
The absolute and unequivocally best part of the cast, a revelation to me that I cannot understate, is Scott Wichmann’s “Black Stache”. He’s found a riotous happy space between Robin Williams’ Aladdin Genie and Groucho Marx that is instantly referenceable and yet unique in practice. Scott commands every scene he’s in. He clearly knows this character inside and out. Scott previously collaborated with Nathaniel Shaw on 2015’s VA Rep production of Peter and the Starcatcher and it shows. It seems his character has evolved into a shorthand between Nathaniel and him, transcending direction. This is his character. If Disney ever makes this movie, he’s their guy.
Speaking of mastery in comedy, Elle Meerovich deserves more column inches than I have time or words to give them. Elle has been in several productions I’ve been lucky enough to catch, most recently in Richmond Shakespeare’s Dr. Faustus. They play three characters in this production – the evil orphanage Director, a pirate with an identity crisis, and Fighting Prawn – the leader of the indigenous tribe on the soon-to-be-renamed island in the second half of the play. Elle is supported by a brilliant script for sure, but lands each joke with panache.
Speaking of panache, Robert Throckmorton’s dowdy Mrs. Bumbrake, and elegant former salmon-turned-wise mermaid, Teacher, could not be further from each other in character. Throckmorton finds the body language and delivery to create two distinct but equally hilarious personalities.
The musical numbers though! How this company, and Mr. Shaw, fit that many people, with that amount of choreography, onto the Firehouse stage to deliver that performance, is beyond me. I have to give a special commendation to Kim Fox as Music Director, Chase Kniffen on Scenic/Production Design, Tim Moehring’s (of GWAR!) Prop Design, Kasey Brown and BJ Wilkinson on Costume and Lighting departments respectively. This play had me immersed, delighted, and engaged from beginning to end. I’m sure I join the cast of this production by aiming the standing ovation backstage as well.
In short, Firehouse’s efforts have produced a truly top-tier telling of a bedtime story none of us are too jaded to enjoy.
