2 very different ‘Peter Pan’ productions fly into Las Vegas

Dust advisories are nothing new in these parts. But pixie dust advisories?

Definitely not the typical local forecast — until now.

That’s because, in the next few weeks, not one but two very different “Peter Pan” productions fly into separate Vegas venues.

First up in the Pan-a-palooza: the musical “Peter Pan,” which sails into UNLV’s Judy Bayley Theatre on Friday for a three-weekend run under the joint banner of Nevada Conservatory Theatre and Rainbow Company Youth Theatre.

And on May 13 and 14, Nevada Ballet Theatre floats into The Smith Center’s Reynolds Hall with Canadian choreographer Jorden Morris’ “Peter Pan” ballet. (The Smith Center may even have some residual pixie dust hovering in the air, left over from February “Finding Neverland” performances.)

Despite the differences between the productions, both share the same inspiration: British author J.M. Barrie’s beloved tale of the won’t-grow-up title character and his adventures — in London, Neverland and points between — with his faithful fairy companion Tinkerbell and Darling children Wendy, John and Michael. To say nothing of close encounters with notorious Captain Hook and his scurvy pirate crew.

“It’s a beautiful story” with many layers, notes Morris, who arrived this week to work with NBT dancers on the ballet he created for Canada’s Royal Winnipeg Ballet in 2006.

“There’s lots of internal development for the characters,” some of which is “pertinent for young people today,” according to the choreographer, who cites Wendy’s character arc, noting “she’s naive and playful in the beginning and we watch her grow up — and we watch Peter not grow up.”

Rainbow Company artistic director Karen McKenney, who’s directing the musical version of “Peter Pan” debuting this weekend, describes it as “the ultimate adventure.”

Not only for “Peter Pan’s” characters but for the young Rainbow Company members in the cast and crew, who are working alongside UNLV students and theater professionals — including Peter himself. He’s played by Andy Lott, who teaches dance at Spring Valley High School — and was once a member of Rainbow Company himself.

“We brought him up right,” McKenney observes.

The musical features the same score that captivated baby boomers who saw TV broadcasts of the 1954 Broadway production featuring Tony winners Mary Martin as Peter and Cyril Ritchard as “the swiniest swine in the world,” alias “Mrs. Hook’s little baby boy.” (NBC also presented a live telecast in 2014 with Allison Williams and Christopher Walken.)

By contrast, NBT’s ballet spotlights classical music by British composers from the turn of the 20th century, when Barrie was creating Peter Pan’s world.

Whether renowned (Benjamin Britten, Edward Elgar) or obscure (Montague Phillips, Eric Coates), “none of their music had ever been used in ballet,” choreographer Morris notes. “In my magical, imaginary mind,” he speculates that J.M. Barrie would have attended concerts featuring their music.

Even if not, the sometimes lyrical, sometimes rollicking melodies provide fitting accompaniment for NBT’s leaping, twirling dancers, who’ve been rehearsing under the supervision of ballet mistress Tara Foy prior to Morris’ arrival in Las Vegas.

Foy knows the “Peter Pan” territory; during her performing career, she spent a year in London’s West End playing Tiger Lily in the musical version of “Peter Pan.”

Foy says “Peter Pan” allows dancers to show off their skills in a ballet that challenges “everyone’s technique, talent and ability to tell a story.”

That story, Morris says, remains the key to “Peter Pan’s” universal appeal.

“When do you stop and smell the roses — and when do you put your nose to the grindstone?” he says. “When do we have fun and when do we have to grow up?” Posing those questions, “Peter Pan’s” tale “appeals to everyone, not just children.”

Contact Carol Cling at ccling@reviewjournal.com or 702-383-0272. Follow @CarolSCling on Twitter.