The only thing America loves more than watching work imported from Great Britain is when that same British work goes wildly off the rails. What is “The Great British Bake Off” without toppling cake…
Now, freshly imported again from the London stage, Lewis, Sayer and Shields portray the inner lives of the Cornley crew, whose personal dramas rival the onstage action. In their latest Broadway outing they turn their knives, tights and sights to J. M. Barrie’s eternal boyhood classic, “Peter Pan.
The premise of “Peter Pan Goes Wrong” is simple, until it isn’t. A not-so-well-heeled theater company of ungainly, hammy thespians, tenderhearted amateurs and demanding directors put on their version of “Peter Pan” in a theater with a noisy, faulty electrical grid, unsafe rigging, unsecured trap doors, and — in a dizzying sequence dazzling in its execution by performers and stagers alike — quick-spinning carousel sets that refuse to lock in place.
The cast of “Peter Pan Goes Wrong” is exquisite, and exceptional when it comes to making the dangerous aspects of mayhem and mistakes look accidental. While the wonky wire work of both Leask and Greg Tannahill induces panic, so too does the manner in which every cast member seems on the brink of linguistic destruction.
Doubling as George, the patriarch of the Darling family, and the despised Captain Hook, Chris Bean is a marvel: a gawky, John Cleese-like beanpole whose every trip and turn is an entrée to the Ministry of Silly Walks. And yet, rather than ape Cleese, Bean’s pratfalls and spittle-spraying proclamations of frustration are as naturalistic to his lean, long frame and wiry demeanor as gin is to juice.
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