Peter Pan (Broadway & Tour)

Based on the play “Peter Pan; or The Boy Who Wouldn’t Grow Up” by Sir James M. Barrie, with music by Moose Charlap, lyrics by Carolyn Leigh and additional music by Jule Styne and additional lyrics by Betty Comden and Adolph Green, this exhilarating revival of PETER PAN played the Marquis Theatre from November 23, 1998 until January 3 1999 for 5 previews & 48 performances.

PETER PAN again returned to Broadway a few months later to re-open at the Gershwin Theatre on April 7 and played through August 29, 1999, a further 166 performances, in the middle of a national tour.

Produced by McCoy Rigby Entertainment (Executive Producer: Tom McCoy), The Nederlander Organization and La Mirada Theatre for the Performing Arts; Produced in association with Albert Nocciolino, Larry Payton and J. Lynn Singleton

Directed by Glenn Casale; Choreographed by Patti Colombo; Originally conceived, directed and choreographed by Jerome Robbins; Scenic Design by John Iacovelli; Costume Design by Shigeru Yaji; Lighting Design by Martin Aronstein; Sound Design by Francois Bergeron and Wig Design by Robert Cybula.

Starring Cathy Rigby (Peter Pan), Paul Schoeffler (Mr. Darling / Captain Hook), Kim Arnett (Indian), Scott Bridges (Slightly), Doreen Chila (2nd Twin), Randy A. Davis (Noodler / Indian), Jeffrey Elsass (Pirate / Indian), Drake English (Michael Darling), Casey Miles Good (Pirate / Indian), Janet Higgins (1st Twin), Chase Kniffen (John Darling), Buck Mason (Nana / Bill Jukes / Crocodile / Indian), Barbara McCulloh (Mrs. Darling / Mermaid / Wendy (Grown Up)), Michael Nostrand (Mr. Smee), Aileen Quinn (Tootles / Jane), Elisa Sagardia (Wendy Darling), Brian Shepard (Pirate / Indian), Roger Preston Smith (Pirate / Indian), Dana Solimando (Liza / Tiger Lily), Tony Spinosa (Cecco / Indian), Alon Williams (Curly) and Sam Zeller (Gentleman Starkey / Pirate)

Swing: William Alan Coats

Understudies: Kim Arnett (Mrs. Darling, Mermaid, Wendy (Grown Up), Tiger Lily, Liza), Michelle Berti (Tootles, 1st Twin, 2nd Twin, Curly, Indian, Jane), Doreen Chila (John Darling, Liza, Slightly), William Alan Coats (Mr. Smee, Nana, Crocodile), Jeffrey Elsass (Gentleman Starkey), Janet Higgins (Peter Pan), Michael Kirsch (Michael Darling), Aileen Quinn (Wendy Darling), Elisa Sagardia (Jane), Roger Preston Smith (Mr. Smee) and Sam Zeller (Captain Hook, Mr. Darling)

Replacement Cast: Barry Cavanagh (John Darling), Hally McGehean (Tootles / Jane)

Associate Choreographer: John Charron; Assistant Scenic Design: Jeremiah Small, Jennifer Vogt, Kis Knect, Amy Shock, Tim Earls & Kevin Morrissey; Assistant Lighting Design: Lawrence Metzler; Assistant Hair Design: Joaquin Romaguera

General Manager: 101 Productions, Ltd.; Company Manager: Robert Tevyaw; Assistant Company Manager: Matthew Lambert; Associate General Manager: David Auster; Tour Manager: D-Tours; Production Stage Manager: Michael McEowen; Technical Supervisor: David Benken; Stage Manager: Nevin Hedley; Assistant Stage Manager: Gina Farina; National Press Representative: David Balsom & Associates; NY Press Representative: The Pete Sanders Group; Marketing: FourFront, Inc.; Online Marketing by Toby Simkin / BuyBroadway Online, Inc.; NY Advertising: LeDonne, Wilner, & Weiner, Inc.; Casting: Julia Flores; Press Representative: Pete Sanders; Press Associate: Glenna Freedman; Photographer: Michael Lamont and Craig Schwartz; Fight Captain: Sam Zeller.

Flying Illusions by ZFX, Inc.; Flying Illusionist: Paul Rubin; Special Effects by Dark Hoffman and Bear Burge; Dance Captain: William Alan Coats.

Conducted by Craig Barna; Associate Conductor: Bruce Barnes; Assistant Conductor: Michael Rice; Keyboard I: Bruce Barnes; Keyboard II: Michael Rice; Drums: Tod Barnard and Steve Bartosik; Violin: Sylvia D’Avanzo, Margaret Jones, Heidi Stubner and Maura Giannini; Cello: Roger Shell and Deborah Assael-Migliore; Harp: Laura Sherman; Reed: David Wechsler, Phil Chester, Tuck Lee, Tom Christensen and Mike Migliore; Trumpet: Larry Pyatt, Jon Owens and Joe Reardon; Trombone: Jason Ingram and Bill Whitaker; French Horn: Richard Tremarello; Bass: Tom Mendel

**Then PETER PAN returned to Broadway for another engagement at the Gershwin Theatre**

Starring Cathy Rigby (Peter Pan), Paul Schoeffler (Mr. Darling / Captain Hook), Barry Cavanagh (John Darling), Drake English (Michael Darling), Barbara McCulloh (Mrs. Darling / Mermaid / Wendy (Grown Up)), Elisa Sagardia (Wendy Darling), Kim Arnett (Indian), Scott Bridges (Slightly), Doreen Chila (2nd Twin),Randy A. Davis (Noodler / Indian), Jeffrey Elsass (Pirate / Indian), Casey Miles Good (Pirate / Indian), Janet Higgins (1st Twin), Buck Mason (Nana / Bill Jukes / Crocodile / Indian), Michael Nostrand (Mr. Smee), Aileen Quinn (Tootles / Jane), Brian Shepard (Pirate / Indian), Roger Preston Smith (Pirate / Indian), Dana Solimando (Liza / Tiger Lily), Tony Spinosa (Cecco / Indian), Alon Williams (Curly) and Sam Zeller (Gentleman Starkey / Pirate)

Swing: William Alan Coats

Understudies: Kim Arnett (Mrs. Darling, Mermaid, Wendy (Grown Up), Tiger Lily, Liza), Michelle Berti (Jane, Curly, Tootles, 1st Twin, 2nd Twin, Indian), Harrison Chad (Michael Darling), Doreen Chila (John Darling, Liza, Slightly), William Alan Coats (Mr. Smee, Nana, Crocodile), Jeffrey Elsass (Gentleman Starkey), Janet Higgins (Peter Pan), Hally McGehean (Jane, Tootles), Aileen Quinn (Wendy Darling), Elisa Sagardia (Jane), Roger Preston Smith (Mr. Smee) and Sam Zeller (Captain Hook, Mr. Darling)

Replacement Cast: Jeffrey J. Bateman (Pirate / Indian), Stephen Campanella (Indian), Christopher F. Davis (Pirate / Indian), Hally McGehean (Tootles / Jane) and Steven Petrillo (Nana / Bill Jukes / Crocodile / Pirate / Indian)

General Manager: 101 Productions, Ltd.; Company Manager: Robert Tevyaw; Associate General Manager: David Auster; Production Stage Manager: Michael McEowen; Technical Supervisor: David Benken; Assistant Stage Manager: Gina Farina;Flying Illusions by ZFX, Inc.; Flying Illusionist: Paul Rubin; National Press Representative: David Balsom & Associates; NY Press Representative: The Pete Sanders Group; Marketing: FourFront, Inc.; Online Marketing by Toby Simkin / Theatre.com Inc.; Advertising: LeDonne, Wilner, & Weiner, Inc.; Casting: Julia Flores; Press Representative: Pete Sanders; Press Associate: Glenna Freedman and Bill Coyle.

As Founder and CEO of Theatre.com and BuyBroadway.com. The pioneer in moving the Broadway industry onto the internet. The theatre press branded me as “Toby is the man pushing theatre, kicking and screaming, into cyberspace.” What started in 1989 as a Broadway industry service called ShowCall via dialup BBS for members of the League of American Theatre Producers evolved onto the world wide web in the early 90’s, and shortly after this, the vast majority of Broadway shows (starting with my production of Victor/Victoria) and theatrical organizations followed. The “Super site of Broadway” became a publicly traded company, prior to my re-branding it as Theatre.com at the Minskoff Theatre.

Described by Variety Magazine as a “marketing powerhouse“, it was the single largest theatre community in the world with over 180,000 active members (in the 1990’s this was massive). From buying official Broadway tickets and souvenirs, providing detailed global show listings, interactive show study & educational guides, live streaming shows and events (including many Opening Nights live broadcasts), industry news from major theatre journalists, pictures and videos, games, messaging directly to Broadway cast’s backstage or even licensing a musical, theatre.com offered it all in a single, easy-to-use interface to theatregoers globally.

Did you Know?

In 1929, the author, Sir James M. Barrie presented all rights to “Peter Pan” to the Great Ormond Street Hospital for Sick Children in London, which continues to receive income from royalties from all of the various productions mounted all over the world. A royalty means a percentage of the ticket price is payable to hospital for performances, published books or films based on Peter Pan wherever applicable.

Peter Pan

THE QUOTES

“Cathy Rigby IS PETER PAN. Director Glenn Casale’s effectively reimagined production resonates with unaccustomed truth. John Iacovelli’s wonderful sets have the quirky and surreal details of Tenniel illustrations, Shigeru Yaji’s splendid costumes range from opulent to ragtag and lighting designer Martin Aronstein casts a rich glow on the whole production. Craig Barna’s musical direction is excellent and Patti Colombo’s terrific choreography soars.”
-Los Angeles Times

“The remarkable production is as lush and complete and as wonderful as one can imagine! Cathy Rigby’s voice has the range and power to move me and the subtleness to make me tear up.”
-The Orange County Register

“With its perfectly cast roles, crackerjack stagecraft and robust choreography, the show leaps off the stage and into the heart! Cathy Rigby completely embodies the spirit of the forever-young flyboy and from her first swooshing entrance on, you never want to take your eyes -or ears, for she has a fine powerful singing voice -off her!”
-The Seattle Times

“The first major revival to reimagine the show for a new generation and it soars!”
-Detroit News

“Rigby hits new heights in PETER PAN. She was nominated for a Tony Award during her last PETER PAN tour and if anything her portrayal has intensified since then. This is a $1.3 million production that looks like $4 million!”
-USA Today

“Cathy Rigby is still the gold medal winner in this exhilarating production of PETER PAN.”
-Boston Globe

“This dynamite production is a sharp double-edged sword that makes us laugh with delight while breaking our hearts at the same time.”
-Christian Science Monitor

“PETER PAN sparkles with fairy dust! Rigby has mastered the singing, dancing and aerial shenanigans, but has also gotten to the core of the boy who wouldn’t grow up.”
-The Washington Post

MUSICAL NUMBERS

Overture / Prologue
Tender Shepherd
I Gotta Crow
Never Never land
I’m Flying
Pirate Song
Hook’s Tango (A Princely Scheme)
Indian Dance
Wendy
I Won’t Grow Up
Hook’s Tarantella (Another Princely Scheme)
Mysterious Lady
Ugh-A-Wug / The Pow Wow Polka
Distant Melody
Farewell / To The Ship
Captain Hook’s Waltz
The Battle
Tender Shepherd (Reprise)
I Gotta Crow (Reprise)
I Won’t Grow Up (Reprise)
Neverland (Reprise) / Finale
Bows

	The official cast recording is available at Jay Records
	The original studio cast recording is available at Jay Records
	This production was filmed by A&E and is available on DVD.

ONE HUNDRED YEARS OF PETER PAN:
A BRIEF HISTORY

The story of Peter Pan has always held a special fascination for children of all ages, and with good reason -it offers a swashbuckling adventure combined with some of man’s most secret desires, to fly and explore another world somewhere beyond the stars, and never to grow oldDidier C. Deutsch, American theater historian

The character of Peter Pan was first mentioned in a 1902 book by Sir James M. Barrie (he was knighted in 1913) entitled “The Little White Bird.” In 1904, the character of Peter was perfected and became the lead character in the full length play, “Peter Pan, or The Boy Who Wouldn’t Grow Up.” In 1906, the section of ‘The Little White Bird” that originated Peter Pan was published separately as a book called “Peter Pan in Kensington Garden.” Then in 1911, Barrie turned his popular play “Peter Pan” into a novel called “Peter and Wendy.”

James Barrie never had his own children (one of the reasons his marriage to actress, Mary Ansell ended in divorce), but spent a great deal oftime playing with the children of his good friends, Sylvia and Arthur Llewelyn Davies. He loved to create skits for the children’s entertainment. It was while writing and acting out skits with the Davies children that Barrie developed the characters and plot he would use in the writing of the full-length play version of “Peter Pan;”

Barrie even acted out the part of the over-the-top comic villain Captain Hook to the delight of the boys. As he explained in his dedication to the play, “I made ‘Peter Pan’ by .rubbing you (the Davies boys) violently together, as savages with two sticks produce a flame.” (Of the five boys, Peter was the one most closely linked with his fictional namesake, an identification he hated all his life. Though he was a highly successful publisher, Peter spent most of his life depressed and committed suicide in 1960.)

Barrie also drew his inspiration from the boys’ parents. He modeled Mr. Darling after the young lawyer, Arthur Llewelyn Davies. Mrs. Darling was based on the refined, nurturing mother Sylvia Davies.

After Sylvia and Arthur’s early deaths, Barrie adopted their five boys. Wendy, who was modeled after a young girl name Margaret Henley, had died at a very early age. The name Wendy originated from Margaret calling Barrie her “Freindy” which, when you add a lisp, comes out “Fwendy” -thus, we have Wendy.

The play also has strong roots in the reality of Barrie’s life. Like Peter Pan, Barrie was a boy who refused to grow up. He took such elements of life as his awkwardness with, yet dependence upon women, his love of children, and his own longing for childhood, shaping these elements into one of the most-loved stories of all time.

Barrie came up with the last name Pan based on Greek mythology. Pan was the Greek god that symbolized natural forces. Pan was the ancient god of forest, flocks and shepherds. Peter’s enchanted Pan-side granted him the power to remain a child forever.

Despite the quality and originality of the piece, Barrie still had a hard time getting it produced. Unlike today, plays in 1904, usually did not have special effects like flying and major scene changes.

Finally, English producer Charles Frohman agreed to produce the play. He cast one of England’s most popular actresses, 37-year-old Nina Boucicault as Peter. Nina’s brother, Dion Boucicault , directed the first production, giving the cast only a few pages of script at a time. He was a perfectionist as a director, often having cast and crew rehearse up to 15-18 hours at a time.

Even with its major technical requirements and unique plot and characters, “Peter Pan” was a great success. It was a big hit throughout England and then in the United States in 1905, with famed actress, Maude Adams, performing the lead to great critical acclaim.

Throughout its history, the role of “Peter Pan” has continued to be played by grown women. Such actresses as Pauline Chase, Jean Forbes-Robertson, Hayley Mills and Maggie Smith performed the role in London.

On Broadway, besides Maude Adams, Peter has been played by Marilyn Miller, Eva La Gallienne, Anne Edger, Jean Arthur, Mary Martin, Sandy Duncan, and most recently Cathy Rigby. In addition, “Peter Pan” has been shown on television, was made into a famous 1953 full-length animated Walt Disney film, and been made into three other movies: “Peter Pan” in 1924, the Stephen Spielberg version, “Hook” in 1992, and most recently, “Peter Pan” in 2003.

The first musical version of “Peter Pan” came to New York in 1950. This version starred Jean Arthur as Peter, Boris Karloff as both Mr. Darling and Captain Hook. The songs were by Leonard Bernstein.

Four years later, another musical version (the one Cathy Rigby now stars in) opened on Broadway at the Winter Garden Theatre. This popular 1954 version was composed by Mark Charlap and Jule Styne and with lyrics by Carolyn Leigh, Betty Comden and Adolph Green. It starred Mary Martin and Cyril Richard. Nine days after the show closed, it aired as a two hour NBC special and was watched by an estimated 70 million people.

Why is “Peter Pan” still so popular all over the world? It might be because it speaks to the smallest child with its spectacle and fantasy, especially the thrill offlying. Older children can also relate to the characters that are their own ages and the great adventures that Peter and his friends have with Captain Hook and the pirates. Adults enjoy “Peter Pan” because it rekindles the magic of the first time they saw it when they were children, and, let’s not forget, the glorious songs and the universal theme of ones desire to never grow up.