"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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"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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“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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"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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"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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“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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“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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“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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