Peter Pan

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A regional term for PCP
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No wonder that Peter Llewelyn Davies--one of five English brothers who, as boys, became the first audience for Barrie's Peter Pan tales--once called the story "that terrible masterpiece.
As this incident suggests, details from Barrie's life--together with the lives of his acquaintances and family--can also help fuel dark readings of Peter Pan.
In more recent days, even Hollywood has not been immune to the Never Land virus: scheduled for a 2003 release are both a live action Peter Pan movie and a J.
Center Stage's artistic director Irene Lewis, who directed that theatre's Peter Pan, says she engaged 37-year-old actor Jefferson Mays to play Peter because the sexual undercurrent is a crucial part of Barrie's scenario.
With punk-style blue hair and a glowering energy that seemed perpetually on the verge of violence, Mays also drew attention to the theme of Peter Pan as threat.
Cluttered along the thrust stage between tiny white four-poster beds were toy blocks that, disconcertingly, varied hugely in scale, some being just a few inches long, while others were nearly chair-sized--the discrepancy seeming to hint that this Peter Pan was not as safe or familiar as a Disney-bred audience might assume.
THIS PSYCHOLOGICAL truism, as it happens, grounded the somber Peter Pan that New York's Iron-dale Ensemble Project mounted a little over a year ago.
Irondale's was not the first Peter Pan to include a narrator--John Caird and Trevor Nunn, for instance, built such a figure into the Royal Shakespeare Company's 1982 Peter Pan, which was cobbled together from various Barrie texts, including a never-filmed 1920 movie scenario written for Charlie Chaplin.
When you get right down to it, the author/narrator trope is a natural for Barrie's tale, because Peter Pan is, in some sense, a story about storytelling: Peter eavesdrops on the Darlings' story hour, and he coaxes Wendy out of the nursery so that she can tell stories to the Lost Boys back in Never Land.
Peter Pan "is largely about faith," according to the literary critic Humphrey Carpenter, who points to the famous scene in the play in which Peter, to save the dying Tinker Bell, cries for the audience to clap if they believe in fairies.
Last fall, Chicago's House Theatre picked up on that ambivalence and mockery in The Terrible Tragedy of Peter Pan, a grim take on the story that wowed the Windy City, attracting so many ticket buyers that the original six-week run was extended to nearly five months.