Peter Pan
Closed 1h 45m
Peter Pan
59

Peter Pan NYC Reviews and Tickets

59%
(115 Reviews)
Positive
42%
Mixed
27%
Negative
31%
Members say
Confusing, Disappointing, Quirky, Clever, Great acting

About the Show

Bedlam returns to Off-Broadway, bringing their high-energy, stripped-down aesthetic to a new production of J.M. Barrie’s classic tale of Neverland.

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Member Reviews (115)

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59
Clever, Confusing, Disappointing, Quirky, Ambitious

See it if You want to see a different take than the usual story. Sometimes funny. Sometimes a little bit avant-garde but points for trying.

Don't see it if You don’t like your Peter Pan outside the box. This one is not successful on every level and hard to follow at times.

77
Clever, Confusing, Ambitious, Schticky, Quirky

See it if you enjoy Bedlam's unorthodox presentation of conventional works. This may be their least cohesive show, but there's still plenty to enjoy.

Don't see it if you expect a traditional staging of the Peter Pan story or you're a JM Barrie purist. [This is an anarchistic, subversive take on the play.]

Critic Reviews (18)

The New York Times
November 20th, 2017

"This attempt is both a puzzle and a bummer — too childish to tell the story properly and too adult to access its wonder...The doubling of roles confuses from the beginning...The story noodles and wanders and just plain perplexes. Sometimes it gets pretty lewd...Presumably the actors know what’s what, but busy as they are, no one seems to be having much fun. This is a surly version that seems to focus on the way that Peter’s immaturity disappoints everyone around him."
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New York Magazine / Vulture
November 20th, 2017

"Bedlam will be playing an anarchic game with this well-worn intellectual property, breaking it open to get at something deep within its heart. And so they do, to truly weird and wonderful effect...This 'Peter Pan' keeps us suspended, delightedly off-balance as we start to recognize truths that were hidden all along in the story we thought we knew. It’s a sexy, sad, silly love song to the very thing that Peter seeks to escape: the carnal, chaotic business of living."
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The Wall Street Journal
November 22nd, 2017

“Credit the theater company Bedlam with recognizing that the original work is far more ambiguous, disturbing and surreal than it might seem...It isn’t really a performance of the play; it is a remaking of it...Unfortunately, the result is more interesting to think about than to experience...This production takes some of the play’s more subtle aspects and makes them literal...We are also meant to be unsettled...In practice, though, much turns tedious."
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New York Daily News
November 20th, 2017

"When it’s not sexed-up the show tilts toward being sophomoric...A freewheeling approach to a popular story about flying kids, fairies, and canine nannies isn’t out of the question. But, like the Darling tots, clarity goes missing. That’s not helped when most of the actors in the ensemble play two or three roles. Same goes for disembodied stage directions and on-the-nose musical interludes...They figure, anything goes. They’re right — and that included both my patience and interest."
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Theatermania
November 19th, 2017

"All the trappings of kids playing in a basement, with actors swapping characters and operating under an inscrutable internal logic. The problem is that for nonparticipating sober adults, it is exactly as interesting to watch...The beats feel half-considered, with ideas picked up and just as soon discarded. The result is a general inertia, with the play never really building to anything...They're all excellent actors, just not very good writers...Too boring for children, too obvious for adults."
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Lighting & Sound America
December 4th, 2017

“Tucker's production is so baffling: It's a full-on assault that yields no point of view...The play has been chopped up...If any of this caused us to look at 'Peter Pan' in a new way, it might be worth the effort, but this production apparently has no interest in anything other than the next bit of comic business...Tucker and company don't have any affection for the original play, nor do they have a cogent critique...The spoofing has to be better than the sloppy, sophomoric gags on offer here.”
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TheaterScene.net
November 25th, 2017

“There is a dark psychological story hidden in Barrie's tale of a boy who refuses to grow up but this isn't it. Whereas the original play is joyful, Bedlam's ‘Peter Pan’ is a glum affair in which no one seems to be having a very good time. Where is the Bedlam which brought such purposeful insight and visual dazzle to its previous work? The actors, mostly playing children, try hard but fail to bring the work to life.”
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Theatre is Easy
November 21st, 2017

“Hilarious, baffling, and disturbing...Initially provocative but eventually becomes repetitive and cringeworthy...Admirers of Bedlam’s adventurous stagecraft and stellar ensemble acting, and for 'Peter Pan' superfans, this 21st-century remix of Barrie’s Edwardian-era drama is full of surprises. Stripped of flying effects and period trappings and somewhat overlong, it still evokes both the humor and the pathos inherent in the story."
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Theater Pizzazz
November 23rd, 2017

“The cerebral production is humorous and self-aware, occasionally crashing through the fourth wall in most unexpected ways...While the production is problematic in lacking a clear message and storyline, it is overlong in the telling, but worth seeing, nonetheless, for the performances alone...While 'Peter Pan' may not be on par with their prior works, it still offers staggeringly original and creative elements. This one might be better for true theater aficionados.”
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Front Row Center
November 21st, 2017

“It is hard to reconcile the company’s former achievements with this work’s rather modest merits...You’ll have a hell of a hard time telling who is who...Again and again our minds are led out of the dramatic continuum...This constant readjustment of perspective interferes with, and practically annihilates, the emotional payoff...By insisting we approach the story with our minds rather than our hearts, Mr. Tucker has short-changed the play, and us, of the magic of the theater.”
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Front Mezz Junkies
December 2nd, 2017

"It’s a mashup of psychoanalytic proportions with a childlike view of fantasy, storytelling, and imagination. Unfortunately Bedlam and Eric Tucker fail on a number of levels to make a cohesive story and an intellectual argument come together...The cast is fully game though...'Peter Pan' has some charm and frantic play in store that keeps a smile on the face for the most part, but in reality, this Peter is confusing and just doesn’t fly up high enough to emotionally or intellectually engage."
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The Huffington Post
November 27th, 2017

"The troupe members do cling to Barrie’s basic storyline like children instructed not to do otherwise, but they also take all sorts of liberties as they go about their travesty...So thoroughly witless that it’s a waste of both the readers’ and my time to set down the details...This reviewer won’t go so far as to say the Bedlam 'Peter Pan' is the worst production of 2017, but it’s certainly in the bottom three."
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W
November 22nd, 2017

“Because the irreverent troop has put dialogue and scenes in a grab bag and drawn them higgledy-piggledy, events are played in unrecognizable sequence…Whether you enjoy this depends on your threshold for wacky. Some of it is amusing, some is wildly imaginative, much is clunky...Actors have focus and energy, but don’t seem to be enjoying themselves…There’s a reason this tale has stood the test of time, but creatives keep thinking they know better."
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Village Voice
November 21st, 2017

“The play is not adapted here so much as redacted, with most of its childish charm stripped out, as well as all its flying sequences...Neither is this a family-friendly rendition of the play, but rather a stark, deconstructed interpretation that vaguely explores the creepier side of maternal affection...Mostly a joyless event, Bedlam’s production sporadically brightens whenever Susannah Millonzi pops up in a witty depiction of Tinker Bell.”
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The Huffington Post
November 22nd, 2017

“The ideas are many, all under-developed and over-used. A voice-over narrator offers some commentary, but this conceit leads nowhere...The play is chopped up and rearranged willy nilly, with certain passages repeated over and over again in a desperate attempt to squeeze some new meaning out of them...They bat the ideas around almost in boredom, not even realizing that their prey is already dead...Here they flop, spectacularly...Bedlam will surely fly again.”
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The Clyde Fitch Report
November 22nd, 2017

“Portions of the dialogue are told and retold in this ensemble-created script, with sequences often repeated to great effect…The stalwart team of six performers handles many roles and covers rocky terrain — from broad comedy needed for cartoon adults to a delicate touch for childhood fears…Musing on Barrie’s original work in this specific, spare aesthetic, with layers of literary jokes and references to past adaptations, requires prior knowledge of the original."
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Philadelphia Inquirer
November 22nd, 2017

"'Peter Pan’ is almost as ripe for Bedlam treatment...Heberlee finds just the right combintion of boyishness and sexiness for his Peter Pan. In his first encounter with Wendy, he seems not to know what a 'kiss' is...The seductive silence is sensational...Only this show shows us that the story we were hearing all this time had untold layers.”
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Off Off Online
November 25th, 2017

"Bedlam’s ill-conceived adaptation makes a strong case for putting 'Peter Pan' to rest...Tucker and company throw everything at the wall to see what sticks...Junk piles up around the stage in a literal manifestation of the crust of mixed metaphors, character doubling, and recursive plot fragments piled willy-nilly on the play, effectively negating any hope of emotional engagement. The show wants desperately to say something, but it talks a lot and says very little."
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