‘Peter Pan’s’ Thrills Will Hook You In

A sharp intake of breath, followed by a toothy smile and a rapt gaze--my 8-year-old companion, first-nighting in pink lace and pearls, was clearly bowled over by Cathy Rigby’s high-flying, pixie-dusted entrance in “Peter Pan” at the Pantages Theatre.

Or, more accurately, she was bowled over by Peter Pan’s entrance. Because, make no mistake about it, you don’t have to be 8 to buy Rigby as Peter Pan in this beautifully staged, first-class production of J.M. Barrie’s timeless fantasy, making a return visit after being on tour since it opened at the La Mirada Theatre last fall.

Physically, Rigby is sprite-sized, but far from dainty. She’s a sturdy, brash Puck, all rough-and-tumble abandon and sinewy muscle, crowing raucously in self-conceit.

Rigby hurls herself fearlessly into the air; on the stage she claims her space with unmistakable authority, moving as if movement alone is a joy.

Add to that her powerful, expressive vocals and her ability to convey the darker side of Peter’s quicksilver emotions, and it requires no effort to accept this diminutive, 45-year-old actress as an ageless, magical boy.

Paul Schoeffler, as Hook, does a bang-up job too. Schoeffler is very good at being bad and so are his tango-dancing pirate band and his endearingly hapless stooge, Smee (Michael Nostrand). My companion’s reaction to Schoeffler’s entrance as the tall, dark, sausage-curled, beruffled villain was guarded. She was intent on that gleaming steel hook and the menace that at times was dark, indeed.

She wasn’t alone. When Schoeffler received his well-earned acclaim at curtain call, a little girl was heard taking her parents to task for applauding. “But he was bad,” she insisted, mystified at adults’ short memories.

Schoeffler doubles as an especially entertaining, unusually well-defined Mr. Darling, and Barbara McCulloh is a lovely presence, both as his wife and later as the adult Wendy, who must accept Peter’s cruel judgment that she’s “too grown up” to return to Neverland. Elisa Sagardia, meanwhile, is a delightfully spunky Wendy.

With its outstanding cast, and technical integrity, there aren’t any false notes in director Glenn Casale’s new staging of Jerome Robbins’ classic musical and its memorable score, rendered here under the splendid musical direction of Craig Barna.

The grand show-stopper is “Ugg-a-Wugg,” an electrifying display of dance and drumming. Rigby, and Dana Solimando as a passionate Tiger Lily, pull off a demanding duet on a huge drum, and Rigby ups the stakes with a tour-de-force drum solo; the entire ensemble drums on the stage and set “Stomp”-style.

This multilayered fantasy’s enduring resonance with adults and children is evident throughout, but for children the test comes when Peter begs the audience to save the dying Tinkerbell by clapping if they believe in fairies. My young companion, eyes bright, the dignity of her pink lace and pearls long forgotten, joined the fervent applause, looking away from that little light in Peter’s hands only long enough to ensure that I was clapping too.

John Iacovelli’s sumptuous, storybook sets have eye-catching angles and detail, washed in lighting designer Martin Aronstein’s evocative palette. Francois Bergeron’s sound design is top-notch and Shigeru Yaji’s costumes are perfect, from the Lost Boys’ tatters and Mrs. Darling’s graceful gowns to Hook’s lace and satin.

At the end of this enormously physical production, with its fierce fight choreography by Jan Bryant and ZFX Inc.’s thrilling flying effects, one special thrill is saved for last, when Rigby, scattering “pixie dust,” soars out over the crowd.

BE THERE

“Peter Pan,” Pantages Theatre, 6233 Hollywood Blvd., Tuesdays-Thursdays, Sundays, 7:30 p.m.; Fridays-Saturdays, 8 p.m.; Saturdays-Sundays, 2 p.m. Ends Aug. 16. $22-$48. (213) 365-3500. Running time: 2 hours, 30 minutes.