Nolan Almeida, Cody Garcia, Hawa Kamara, and Cast Photo by Matthew Murphy @ MurphyMade

This adaptation of Peter Pan was written by Larissa Fasthorse, whose work I was first introduced to when I saw her excellent play Landless almost 10 years ago in an Alter Theater production in a storefront in downtown San Rafael. Though I applaud her for excising the rather racist stereotypes of Native Americans that were included in Barrie's original text (the indigenous peoples here represent a range of individuals who are the last of their tribes who have come to Neverland to preserve their traditions), the nods to modern technological life do nothing more than pull focus from the main story.

Despite this misguided attempt at modernization, this Peter Pan has a lot going for it. First, a glorious score with music by Morris (Moose) Charlap and additional music from Jule Styne; lyrics by Carolyn Leigh, with additional lyrics from Betty Comden and Adolph Green. The set is marvelous, especially for a touring show that is only in town for a week: a lovely Victorian-style interior of the Darling nursery that gives way to a magical Neverland that is like something out of an episode of "Survivor," with lush greenery hanging everywhere, and the suggestion of massive trees. The flying effects are magnificent, especially in the first instance when Peter comes soaring through the nursery window, trailing fairy dust, and again when the children fly off to Neverland, the thrilling effect made possible by David Bengali's wonderful projection design. The shadow play that happens when Pan's shadow is reattached to his body is also marvelously fun to watch.

If you are are unfamiliar with the story (and if so, welcome back from whatever deserted island you've been on all these years!), Peter Pan tells the story of the three Darling children–Wendy (Hawa Kamara), Michael (Camden Kwok) and John (William Foon)–who are visited one night by Peter Pan (Nolan Almeida), a magical boy who never ages, can fly, and lives on a mystical island called Neverland where he and the Lost Boys play all day and have adventures. After teaching the children how to fly ("think lovely, wonderful thoughts!"), they all zoom off to Neverland, where the villainous Captain Hook (a delightfully sneering Cody Garcia) has it out for Peter, who is evidently responsible for the loss of Hook's hand.

Once on the island, the action is non-stop, and all those silly aspects of modern life are left behind and we can sit back and enjoy the clashes between Hook and his pirates and Peter and Wendy and the Lost Boys and the adorable crocodile (Christina Hélène Braa), who slithers on and off stage in a terrifically articulated costume. As Hook's henchman Smee, Kurt Perry is delightfully fey and appropriately sycophantic.

The voices are solid throughout, and the orchestra absolutely top-notch: dynamic and exceptionally tight. And despite my misgivings about much of the contemporary references, eliminating the blatant racism of the original and giving Wendy a life goal of becoming a surgeon (which helps her sew Peter's shadow back on) are both welcome additions. But I'd much rather have the character of Nana, the dog that serves as the Darling children's nanny in the original, than the entirely wasted babysitter Liza (Hannah Schmidt) who barely makes a ripple here.

If you want to give your kids the thrill of live theatre this week, this touring production of Peter Pan may be your best choice, despite some of the ridiculous modernization of the text.

Peter Pan runs through November 3, 2024, at SHN's Golden Gate Theatre, 1 Taylor Street, San Francisco CA. Tickets range from $56.00 - $159.00 For tickets and information, please call the box office at 888-746-1799 or visit broadwaysf.com. For information on the tour, visit peterpanontour.com.