Peter and the Starcatcher Shines at FRT 

I wish more than a handful of people could have seen Jessie Gelormino as one of the best Cosettes I've had the pleasure to witness in Les Misérables. Her performance was inspiring, professional and sweet, but only performed in a rehearsal for understudies (as she was) to practice main roles should an actor not be able to make a show. Many years later, she brings those same attributes in her inaugural production as interim managing producer of Ferndale Repertory Theatre in Peter and the Starcatcher. Her influence in the theater and this production was certainly noticeable in this delightful, stylish and lighthearted show. 

Based on a bingeable children's book series by Dave Barry and Ridley Pearson, the Rick Elice stage adaption of Peter Pan's backstory is a play with music that follows Molly Aster (Marina Howard) and her father Lord Aster (Jaye Templeton) as they guard a chest full of a magical substance that pirates led by Black Stache (Jaison Chand) scheme to acquire. The action is predominately presentational as the ensemble explains the passing of time, the sailing of two ships, the weather and the falling and flying of characters, while the actors cleverly embody them. The style flows much like someone reading the book and allows for multiple locations and simultaneous scenes to blend in a small space without confusion. It also allows the audience to fully believe in the magic created through physically representing what is being described. Director Molly Severdia expertly crafts multiple spectacular moments in this vein. In particular, a brilliant scene with a curious Aster opening several doors to find different scenes behind them and later an actor tumbling down a cliff that drew audible approval from the audience.  

Young Marina Howard is so spectacular now that I am excited to see how her acting and confidence develop. Her maturity and ambition as Molly are a pleasure. Howard and the three orphans played by David Hendrickson (Boy/Peter), Austen Olsen (Ted) and Seth Lenhoff (Prentiss) all embody rascally children with adult professionalism, complementing each other. Merrick Yra as Alf's facial expressions and comedic timing, especially in scenes with the fantastic Elaine Yslas as Mrs. Bumbrake, are incredible. James Morris as Smee breathes a new and refreshing take on a familiar character. Of course, Chand and Templeton are always mesmerizing, and this show is no different. The true standout is the ensemble, who somehow act individually in their choral moments and exude joy and levity even when the audience is meant to imagine them not there. Their energy is infectious. It is paramount to continue that drive as it is immediately apparent when it dips. This may be accomplished by allowing scenes to develop offstage before an entrance and continue offstage when they exit; scenes where actors run onstage, only stopping to speak their lines without heavy breathing, then run offstage without a clear destination may strain believability. Still, the overall presentation allows the audience to stay engaged.  

The simple complexity of Carl McGahan sets is perfect for this script. Multiple platforms, ramps and cleverly layered netting over sticks are enough to stimulate the imagination and are just as believable as a child's bedroom or a pirate ship and a mountainous island. Emma Dobbins shows her experience as a stage manager, as a lesser one may have been overly cautious about actors nimbly stepping between levels. Carin Billings does an incredible job (again) painting the set in a Monet-esque style. Sydnee Stanton creates a nice blend of lights for the set. Though they use an interesting and lively palate, I wish there was more attention to how the colors interact with the set, as it's sometimes dulled where it could have more dimension. Costumes and props by Alysssa Plante are cute, though there are period inconsistencies and perfectly clean costumes referred to as "filthy." Still, even confusingly flowery mollusk costumes aren't enough to ruin the experience, and Black Stache, Mrs. Bumbrake and Alf look perfect. I do wonder whether some pantomimed props are missing or purposely omitted.

Though some may expect more theater tech magic out of a story that is a prequel to Peter Pan, I was impressed by this show's heart and charmed by its lucidity. I encourage you to get pulled into belief. 

Ferndale Repertory Theatre's Peter and the Starcatcher runs through Dec. 17, with 7:30 p.m. shows on Fridays and 2 p.m. shows on Saturdays and Sundays. Call (707) 786-5483 or visit ferndalerep.org.

Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.

NOW PLAYING

It's a Wonderful Life: A Live Radio Drama brings old-timey charm at North Coast Repertory Theatre through Dec. 10. Call (707) 442-6278 or visit ncrt.net.

The annual holiday show at the Arcata Playhouse kicks off Dec. 8 with a masked take on The Little Match Girl with puppets and more. Through Dec. 17. Call (707) 822-1575 or visit arcataplayhouse.org.