TAY L O R L A C H

Very important information:

Peter Pan and Wendy (1911)- Novel by J.M.Barrie

Peter and the Starcatchers Novels by Dave Barry and Ridley
Pearson
Peter and the Starcatcher- play by Rick Elice
Directed by Roger Rees and Alex Timbers
Opened on Broadway April 2012 @ Brooks Atkinson Theatre
May 1st, Most Tony Noms for a play in history-won 5!
Sound, Lighting, Costume, Scenic, and Featured Actor
And so our story begins
Two heroes- Boy(eventually Peter) and Molly
A feast for the minds eye- Rick Elice
Company ethics + do-it-yourself design = A whole world of
emotion

But HOW?
Aristotles PLOT
Has a beginning, middle, end
Ridley Pearson In screenwriting, its said that you need to tell the whole
story in the first ten pages, but in a way that the audience doesnt know
theyve been told.
Prologue with exposition, beginning with MDQ, middle of overcoming
obstacles, climax where MDQ is answered, and resolution in which new
paths are set up for the future.

Peter
Molly
Black Stache
PATSC Conventions
Story Theatre techniques- 12 Actors, 100 characters
we teach the audience how the dialogue will interweave with the
narration-Alex Timbers
Simultaneity- showing AND telling

Shakespearean (Henry V) and Brechtian

Performance Group
Poor Theatre
https://youtu.be/GWg7J8n6RmI?t=1m6s
 Design&Direction
THE ROPE/the found objects
A group effort between designers and actors and directors
Rooms, stairs, ships helms, whips, waves, horizons, forestsetc
demonstrates how perfectly pleased the plays audience is to
pretend.-Rick Elice. Contract with Audiences.
Childlike desire to pretend and be included in the pretending
https://youtu.be/r_ZuyqzOolk?t=24s
https://youtu.be/r_ZuyqzOolk?t=2m44s
Proscenium and Mermaids made out of household objects
Like kids playing pretend
Jerzy Grotowskis Poor Theatre
 Cheeky Diction
Retains authorial voice- otherwise whats the point of adapting?
A Piratical Silence of Great Awfulness
A fetching mob of mermaids enters in front of the curtain to celebrate their
encounter with starstuff.
https://youtu.be/GWg7J8n6RmI?t=2m36s
Epic Voice
Some dramatic acting moments, lots of narration, singing, and simultaneity of
both
Wrought with references:
Chekhov, Shakespeare, Philip Glass, Siskel & Ebert, The Three Stooges, the
Little Mermaid, Politics, Broadway, its own existence as a play-Brecht!
STOW YER CARGO! START YER PLAY! ADIEU! ADIEU!
Influences/Influenced by:
Schechner and the Performance Group
Workshop process, small ensemble, invite
audience into experience

Jerzy Grotowskis Poor Theatre

Stripped down, non-realistic set/props/costumes

Brechts Simultaneity- Epic theatre

Still includes dramatic action/obstacles/subtext
Demonstrative like Brecht, but still
embodying at times like Stanislavski
When I was a boy, I wished I could fly

and the idea of being a boy forever was pure delight. No homework,
no chores, no responsibility, no sorrow. Now that Im in the middle of my
life, I understand what Id have missed had I never grown up, or fallen
in love, or stood my ground, or lost a battleor written a play. In
Barries original, Mrs. Darling, upon leaving the nursery says, I
thought I saw a face at the window. And, of course, thats Peter, the
outsider, nose pressed to the glass. A boy-Moses, looking over the
Promised Land but never allowed in. What could be more bittersweet? I
wanted to write a play about that, with adult language and adult
challenges. James Barrie found his character by embracing the notion of
never growing up. I found mine by realizing I had. Rick Elice