PETER PAN, Pioneer Theatre Company, 300 S. 1400 East, through Dec. 28 (581-6961). Running time: 2 hours, 50 minutes (two intermissions).
From top to bottom, this spectacular production of "Peter Pan" has been richly endowed with a heavy sprinkling of glittering fairy dust.
Guest artist Kirsten Wyatt is one of the best Peter Pans we've seen here in years — not only does she soar (way out into the audience during the finale), but her voice soars, too. She gives the role a feisty, sassy approach befitting an impudent lad who refuses to grow up. Who would want to, if not growing up is this much fun.
Then there's Max Robinson as that scourge of the seas, Captain Hook. He swaggers. He waltzes. He does these hilarious second takes. His timing is flawless. He delivers a Captain Hook that will have kids (and parents, too) thoroughly delighted. (And, of course, he also plays the very proper British father, Mr. Darling.)
Too bad the Captain didn't use his infamous hook to take care of two rude patrons Wednesday night — one who used a flash camera to snap a shot during Act One, and another who seemed to enjoy singing along (despite the fact this was not a sing-along.)
It's obvious, from the exuberance the cast delivers on stage that the entire ensemble — and director Charles Morey — has had a ball getting this rousing production up and running.
Richard Mathews is wonderful as Hook's constantly put-upon sidekick, Smee, and Lisa Mandel is perfectly cast as Tiger Lily, the Indian maiden.
The Darlings' children — Wendy, John and Michael — are all nicely played by, respectively, Becky Watson, Christopher Schram and (on opening night) Tait Meskey, who alternates with Andrew Thomas Pehrson.
Anne Stewart Mark gets a well-earned respite from her recent work at Salt Lake Acting Company, where she was onstage constantly as half of a two-woman show. In "Peter Pan," she's playing the elegant Mrs. Darling — during the opening moments of Act One, then again in the two final scenes, back home, waiting in the nursery. (For the other 95 percent of the time, I heard that she's working on needlepoint in her dressing room.) But she lends "Peter Pan" her usual grace and sophistication.
It's not often that a "spotlight" gets in the spotlight, but Jillian Sylvester earns special mention as the technician who operates the sprightly, highly animated pixie, Tinkerbell.
And Daniel Beecher must be bringing his animal instincts to the fore — as Nana, the Darlings' canine nanny, and as Captain Hook's slithering nemesis, the fearsome, tick-tocking Crocodile.
The rest of the ensemble, from Peter Pan's pack of scrappy Lost Boys and Tiger Lily's tribe of Indians to Captain Hook's motley band of pirates, is first-rate.
Adding to a production that is as shimmering and polished as the Captain's hook, are choreographer Timothy Albrecht, set designer George Maxwell (each time the curtain went up on a new piece of scenery, there was a big round of applause); costumer Carol Wells-Day, lighting designer Peter L. Willardson and fight choreographer David L. Boushey.
Musical director James Prigmore's pit orchestra is also in fine shape (and Prigmore was, momentarily, the focus of some of Peter Pan's playfulness).
E-MAIL: ivan@desnews.com