Peter Pan an enchanting ballet escapade
DANCE
Peter Pan
WA Ballet
His Majesty’s Theatre
REVIEW NINA LEVY
New Zealand choreographer Russell Kerr is renowned for his ability to depict personality on stage. Sure enough, his 1999 ballet Peter Pan, staged in Perth for the first time by West Australian Ballet, is a kaleidoscope of colourful characters.
From beatific Wendy to feisty Tinker Bell, the rough-and-tumble Lost Boys to an elderly yet spirited pirate Smee, there's a cartoon-like merriment to Kerr's creations.
Of course, characters must be brought to life and the WAB dancers have done a superb job of animating both lead and corps roles. Saturday night saw Sergey Pevnev take on the role of the boy who never grew up. Pevnev combined his trademark charm with a childlike joie de vivre to create a lovable Peter. Claire Hill's Tinker Bell was effervescent with shimmering, shivering fairy energy. Melissa Boniface injected charisma into the otherwise too-good-to-be-true Wendy, while Robert Mills' Michael delighted with his innocent wonder. Christian Luck, as Captain Hook, together with his band of pirates, provided much mirth, their serious-looking swords offset by their slapstick antics.
The program notes describe Neverland as being "created of the best parts of children's dreams" and the late Kristian Fredrikson's set designs capture that dream-like quality. Fredrikson was an award-winning designer and it's not hard to see why.
The sky full of golden stars on the journey to Neverland; the lush, jungle-like foliage of the island itself, full of places to play and retreat; the Lost Boys' underground hidey-hole, which looks like a giant cubby encapsulated by tree roots - it's as though we have stepped directly into a child's imagination. The only element that isn't totally successful is the use of puppets to represent the flight to Neverland - certainly from my viewpoint, the poles holding them in the air were all too visible.
Fredrikson's costumes also appear to be made of pictures from a child's mind. The Lost Boys are roly-poly cubs in their layers of fur; the pirates tattered and dreadlocked. Peter Pan and Tinker Bell's leafy outfits bring to mind fairy-folk of the woods. Then there are the more extravagant outfits - Hook's 17th century-style coat is richly embellished but it's not just the lead costumes that shine.
While Kerr's Peter Pan is highly engaging, the choreography is relatively simple. In the spirit, perhaps, of Diaghilev, this is movement driven by narrative, not movement designed to create spectacle. Fear not, there is spectacle but it is created by all the elements - the music, the costumes, the set, the lighting… as well as the movement. That said, there are some rollicking dance numbers, and, for me, these were highlights.
Early on, Warmth and Light perform an exuberant charleston-inspired number, with suitably jazzy accompaniment from Philip Norman's evocative score. Later, when Peter returns to the underground hide-out, Kerr and Norman seem to be channelling a 1920s vibe again as the Lost Boys, the Darling children, Tinker Bell and Peter celebrate in hip-swinging, knee-slapping style.
On the subject of music, mention must be made of the WA Philharmonic Orchestra, who handled Norman's eclectic composition with aplomb.
I thoroughly enjoyed Peter Pan but I have a feeling the best way to watch this show is with a small person in tow. I’m glad that I will be returning to His Majesty’s Theatre next weekend with a six year old and four year old for company. Peter Pan is definitely one for the whole family.
Peter Pan runs until December 15.
