NBC’s venture into live musical broadcasts in December is quickly becoming a cherished holiday tradition, much like gathering around the fireplace or decorating the tree. Whether these productions are critically acclaimed masterpieces or delightfully flawed spectacles almost becomes secondary to the communal experience they create. Following the previous year’s widely discussed The Sound of Music Live, NBC presented Peter Pan Live! and continued this emergent tradition. Even if the production had stumbled more significantly, it’s likely the shared, slightly anachronistic charm would have remained. These live musicals, including Peter Pan Live!, have carved out a unique niche as communal events, fostering a sense of shared experience, even if part of that experience involves playful online commentary about the unpolished nature of live network television. In an era where saving Tinkerbell might involve a trending hashtag, there’s a certain warmth in knowing we’re still engaging with these stories together.
Peter Pan Live! demonstrated a notable step up in ambition and execution compared to The Sound of Music. Allison Williams, in the titular role, surpassed modest expectations, delivering a performance that not only overshadowed Carrie Underwood’s previous turn but was genuinely commendable, even while navigating a somewhat distracting British accent. Christopher Walken’s portrayal of Captain Hook was quintessential Walken – operating on his own unique rhythm. At times seemingly adrift from his lines, at others appearing to intentionally feign forgetfulness, he also punctuated his performance with unexpected bursts of tap-dancing. While perhaps a touch more dynamism could have complemented his striking appearance, Walken’s casting was clearly a choice for unpredictable, unconventional performance. Kelli O’Hara, a Broadway luminary, brought her seasoned talent to the role of Mrs. Darling, serving as a reminder of the consistent excellence found in live theatre and perhaps hinting at a casting direction for future NBC musicals. And then there was Nana, the dog, whose talent for turning down a bed was genuinely noteworthy.
The overall production of Peter Pan Live! boasted a grander, more visually engaging scale than its predecessor. This wasn’t solely attributable to Christian Borle’s impressive physique as Smee. While the camera work began with a somewhat dizzying mobility, it eventually stabilized, a welcome adjustment considering the elaborate choreography involving three distinct groups: the Lost Boys, the Pirates, and Tiger Lily’s tribe. The wires facilitating flight were visible, raising questions about the availability of less conspicuous options, yet the early scenes of Peter and the Darlings soaring into the night sky held genuine enchantment. Neverland itself was a visual feast, a vibrant, almost overwhelmingly sweet spectacle of color.
However, the core challenge for Peter Pan Live! lay in its source material. The musical itself is undeniably peculiar. Familiarity with the Mary Martin version, broadcast live in 1960 and viewed on well-worn VHS, brought back memories of themes around motherhood and aging, but the show’s pervasive and strange undertones were more pronounced than remembered. It isn’t just the Lost Boys yearning for a mother figure; the adult pirates also express a desire to adopt Wendy, a teenager, as their mother, albeit in a supposedly non-creepy manner. Peter’s perpetual boyhood doesn’t deter Tinkerbell, Wendy, and Tiger Lily from engaging in territorial disputes over him, a subtle current of female rivalry over an emotionally immature boy-man. (The original Peter Pan arguably passes the Bechdel test only because Peter is traditionally played by a woman). Then there are the problematic racial elements surrounding Tiger Lily. While this production included a revised song and consultation with Native American advisors, she remained surrounded by loincloth-clad men and professed to see the white Peter as her “sun and the moon and the stars.” Social media users also keenly observed the homoerotic undertones, from the Lost Boys sharing a single bathtub to the pirates’ overtly muscular, pantalooned dances. Even the ticking crocodile, portrayed by someone in a purple spandex suit, carried a suggestive slinkiness.
Beyond the source material, Peter Pan Live! also suffered from issues within the show’s book itself. The direction seemed heavily focused on musical numbers, leaving the connecting dialogue feeling disjointed and often nonsensical. This incoherence contributed to a surprising lack of momentum, particularly in the supposed action sequences. If the pirates were intended to be menacing, their portrayal rarely conveyed any real threat. The climactic confrontation between Peter and Captain Hook resembled a languid slow-motion waltz, with both characters waving swords with the intensity of handling delicate pipe-cleaners. The confusing dialogue was made more frustrating by its dispensability; cutting much of it could have streamlined the production to a more palatable two-hour runtime. While a shorter show would mean less airtime for commercials, one can hope that future live productions might prioritize quality over advertising revenue.
In conclusion, Peter Pan Live! on NBC was a mixed bag. It offered visual spectacle and some commendable performances, particularly from Allison Williams and the reliably eccentric Christopher Walken. However, the inherent oddities of the musical’s narrative and a somewhat uneven production, particularly in pacing and dialogue, prevented it from being a truly soaring success. Despite its flaws, Peter Pan Live! delivered on the communal viewing experience that has become the hallmark of these NBC holiday musicals, providing a shared cultural moment, complete with online commentary and hashtag activism for a fictional fairy.
