Peter Pan
Peter Lawrence and R. L Stevens Presents
Jean Arthur and Boris Karloff in J. M. Barrie's
Peter Pan
Songs and Lyrics by Leonard Bernstein
With Marcia Henderson, Peg Hillias, Joe E. Marks
Production Staged by John Burrell
Associate Director: Wendy Toye
Recording Director: Robert Lewis Shayton
Incidental Music by Alec Wilder
Musical Conductor: Ben Steinberg
Record Adaptation by Henry Walsh
Original Columbia release 1950
Columbia Special Products AOL 4312 reissue
1973 CBS
Cast
Mrs. Darling - Peg Hillias
Wendy - Marcia Henderson
John - Jack Dimond
Michael - Charles Taylor
Nana - Norman Shelly
Peter Pan - Jean Arthur
Tootles - Lee Barnett
Slightly - Richard Knox
Curly - Philip Hepburn
The Twins - Charles Brill, Edward Benjamin
Nibs - Buzzy Martin
Captain Hook - Boris Karloff
Smee - Joe E. Marks
Wendy - Marcia Henderson
John - Jack Dimond
Michael - Charles Taylor
Nana - Norman Shelly
Peter Pan - Jean Arthur
Tootles - Lee Barnett
Slightly - Richard Knox
Curly - Philip Hepburn
The Twins - Charles Brill, Edward Benjamin
Nibs - Buzzy Martin
Captain Hook - Boris Karloff
Smee - Joe E. Marks
Starkey - David Kurlan
Jukes - Will Scholz
Cecco - Nehemiah Persoff
Mullins - Harry Allen
Noodler - John Dennis
Cookson - William Marshall
Whibbles - Vincent Beck
NARRATOR - TORIN THATCHER
For more than twenty years, Americans had not had a chance to see J. M. Barrie's enchanting Peter Pan, until it was revived at the Imperial Theater in New York on the evening of April 24th, 1950, with Jean Arthur in the title role and Boris Karloff as Mr. Darling and Captain Hook. In view of its ecstatic reception by both critics and audiences, and in view of the fact that British audiences have been revelling in its charm an- nually (with the exception of 1939 and 1940) for years, it is difficult to understand why Peter Pan has been so long absent from the American scene. There were many who felt that the pro- ducers, Peter Lawrence and R. L. Stevens, were clearly out of their minds in attempting a pro- duction of a complex and expensive fantasy, but the delighted yells of children and the happy sur- render of their adult chaperons have completely vindicated them.
James M. Barrie - he was knighted in 1913- wrote Peter Pan on commission for Charles Frohman in 1904. Barrie himself felt that the play was unsuited to the commercial theater, and offered Frohman an additional script. Both were accepted. The first performance of Peter Pan was given on December 27th, 1904, with Nina Boucicault as Peter, and it ran for 145 perform- ances. Since that time, it has been an annual event in the British theater, being played at Christmas-time with many of the most distin- guished actresses assuming the part of the en- gaging boy who refused to grow up. Barrie died in 1937, leaving all royalties of the play in per- petuity to the Hospital for Sick Children in London.
In America, the role has until now been largely identified with Maude Adams, who starred in the first domestic production on November 6, 1905. She again played it in revivals in New York in 1912 and 1915 and of course across the country.
In the sole film version, a silent production of 1924, Betty Bronson made her debut. Marilyn Miller played Peter in 1924, and Eva Le Gallienne in 1928. Since then, until Jean Arthur flew magic- ally through the windows of the Darling nursery in the current production, the spell of the Never Land and the Pirate Ship had been denied the young in heart of this country.
And when the last flight had been made, when Peter had retired to his home in Wendy's house in the tree-tops, when the children had returned to Nana's supervision, then the critics unleashed some of the most joyous phrases of the season. "Something that is priceless in the workaday theater," "a superlative production," "the happiest play in New York... the jolliest of evenings," these and equally pleasant remarks filled the columns. Miss Arthur's Peter was characterized as triumphant and enchanting, Mr. Karloff's per- formances in two parts as the best of his career. Salutes were in order, too, for Leonard Bernstein's sympathetic and refreshing music, the settings by Ralph Alswang, the costumes by Motley, and, indeed. for everyone connected with the production. That these salutes were not unmerited is attested by the captivating spirit of this performance.
Jean Arthur is one of the best known actresses n the American screen. Her present contract with Paramount Studios permits her to do plays and pictures independently of the studio. Her favorite picture of all time is Mr. Smith Goes To Washington, and she is glad to have been a part of it. She feels the same way about Peter Pan, the play. Long identified with the monster in Frankenstein for his horrifying but curiously sympathetic portrayal, Boris Karloff has appeared in a lengthy succession of similarly frightening films. On the stage, he has been seen in Arsenic And Old Lace, demonstrating a brilliant comic sense, and in On Borrowed Time and The Linden Tree, proving himself an actor of wide range and understand- ing, by no means limited to the frightening roles with which he became famous. Born in Dulwich, England, Mr. Karloff left the diplomatic service to become an actor, and has toured widely in Canada and the United States. In Peter Pan, he combines his talents, being humorously gentle as Mr. Darling, and humorously terrifying as Captain Hook.
Marcia Henderson left Andover, Mass., to study at the American Academy of Dramatic Art, grad- uating last spring. Only twenty, she has appeared in two films, and is featured in her first Broadway appearance. Her warmly lovely performance has already won her honors: the New York critics voted her the most promising young actress in a Variety poll and Theater World chose her as one of the twelve most promising stage personalities of 1950.
Peg Hillias has been seen in A Streetcar Named Desire and an Equity Library Theater production of Lucky Sam McCarver. Between performances as Mrs. Darling, she may be heard on the radio in Kitty Keane and Helen Trent. Joe E. Marks was most recently seen in Bloomer Girl, staying with the company for more than three years. He has also appeared in The Man Who Came To Dinner, High Kickers, and in many motion pic- tures and television productions.
Leonard Bernstein, who composed the songs and lyrics for Peter Pan, basing the words on the play, is famous as one of the most brilliant conductor- composer-pianists to be heard anywhere. In addi- tion to his provocative The Age Of Anxiety, he has composed music for On The Town, the ballets Fancy Free and Facsimile and the prize-winning symphony Jeremiah. Formerly conductor of the New York City Center Symphony, he has appeared with major symphonies all over the world, and was conducting in Israel when Peter Pan opened.
John Burrell was appointed resident director of England's Old Vic Theater Company in 1945, and is a member of the Drama Panel of the British Arts Council. Wendy Toye is one of England's most active theater personalities, as actress, dancer, director, choreographer and producer. Peter Pan is her first American assignment, fol- lowing three revues staged in London. – Notes compiled by GEORGE DALE
Jukes - Will Scholz
Cecco - Nehemiah Persoff
Mullins - Harry Allen
Noodler - John Dennis
Cookson - William Marshall
Whibbles - Vincent Beck
NARRATOR - TORIN THATCHER
From the back cover: The songs WHO AM I?, BUILD MY HOUSE, and PETER, PETER are sung by Miss Henderson; THE PIRATE SONG and THE PLANK by Mr. Karloff and the Pirates.
For more than twenty years, Americans had not had a chance to see J. M. Barrie's enchanting Peter Pan, until it was revived at the Imperial Theater in New York on the evening of April 24th, 1950, with Jean Arthur in the title role and Boris Karloff as Mr. Darling and Captain Hook. In view of its ecstatic reception by both critics and audiences, and in view of the fact that British audiences have been revelling in its charm an- nually (with the exception of 1939 and 1940) for years, it is difficult to understand why Peter Pan has been so long absent from the American scene. There were many who felt that the pro- ducers, Peter Lawrence and R. L. Stevens, were clearly out of their minds in attempting a pro- duction of a complex and expensive fantasy, but the delighted yells of children and the happy sur- render of their adult chaperons have completely vindicated them.
James M. Barrie - he was knighted in 1913- wrote Peter Pan on commission for Charles Frohman in 1904. Barrie himself felt that the play was unsuited to the commercial theater, and offered Frohman an additional script. Both were accepted. The first performance of Peter Pan was given on December 27th, 1904, with Nina Boucicault as Peter, and it ran for 145 perform- ances. Since that time, it has been an annual event in the British theater, being played at Christmas-time with many of the most distin- guished actresses assuming the part of the en- gaging boy who refused to grow up. Barrie died in 1937, leaving all royalties of the play in per- petuity to the Hospital for Sick Children in London.
In America, the role has until now been largely identified with Maude Adams, who starred in the first domestic production on November 6, 1905. She again played it in revivals in New York in 1912 and 1915 and of course across the country.
In the sole film version, a silent production of 1924, Betty Bronson made her debut. Marilyn Miller played Peter in 1924, and Eva Le Gallienne in 1928. Since then, until Jean Arthur flew magic- ally through the windows of the Darling nursery in the current production, the spell of the Never Land and the Pirate Ship had been denied the young in heart of this country.
And when the last flight had been made, when Peter had retired to his home in Wendy's house in the tree-tops, when the children had returned to Nana's supervision, then the critics unleashed some of the most joyous phrases of the season. "Something that is priceless in the workaday theater," "a superlative production," "the happiest play in New York... the jolliest of evenings," these and equally pleasant remarks filled the columns. Miss Arthur's Peter was characterized as triumphant and enchanting, Mr. Karloff's per- formances in two parts as the best of his career. Salutes were in order, too, for Leonard Bernstein's sympathetic and refreshing music, the settings by Ralph Alswang, the costumes by Motley, and, indeed. for everyone connected with the production. That these salutes were not unmerited is attested by the captivating spirit of this performance.
Jean Arthur is one of the best known actresses n the American screen. Her present contract with Paramount Studios permits her to do plays and pictures independently of the studio. Her favorite picture of all time is Mr. Smith Goes To Washington, and she is glad to have been a part of it. She feels the same way about Peter Pan, the play. Long identified with the monster in Frankenstein for his horrifying but curiously sympathetic portrayal, Boris Karloff has appeared in a lengthy succession of similarly frightening films. On the stage, he has been seen in Arsenic And Old Lace, demonstrating a brilliant comic sense, and in On Borrowed Time and The Linden Tree, proving himself an actor of wide range and understand- ing, by no means limited to the frightening roles with which he became famous. Born in Dulwich, England, Mr. Karloff left the diplomatic service to become an actor, and has toured widely in Canada and the United States. In Peter Pan, he combines his talents, being humorously gentle as Mr. Darling, and humorously terrifying as Captain Hook.
Marcia Henderson left Andover, Mass., to study at the American Academy of Dramatic Art, grad- uating last spring. Only twenty, she has appeared in two films, and is featured in her first Broadway appearance. Her warmly lovely performance has already won her honors: the New York critics voted her the most promising young actress in a Variety poll and Theater World chose her as one of the twelve most promising stage personalities of 1950.
Peg Hillias has been seen in A Streetcar Named Desire and an Equity Library Theater production of Lucky Sam McCarver. Between performances as Mrs. Darling, she may be heard on the radio in Kitty Keane and Helen Trent. Joe E. Marks was most recently seen in Bloomer Girl, staying with the company for more than three years. He has also appeared in The Man Who Came To Dinner, High Kickers, and in many motion pic- tures and television productions.
Leonard Bernstein, who composed the songs and lyrics for Peter Pan, basing the words on the play, is famous as one of the most brilliant conductor- composer-pianists to be heard anywhere. In addi- tion to his provocative The Age Of Anxiety, he has composed music for On The Town, the ballets Fancy Free and Facsimile and the prize-winning symphony Jeremiah. Formerly conductor of the New York City Center Symphony, he has appeared with major symphonies all over the world, and was conducting in Israel when Peter Pan opened.
John Burrell was appointed resident director of England's Old Vic Theater Company in 1945, and is a member of the Drama Panel of the British Arts Council. Wendy Toye is one of England's most active theater personalities, as actress, dancer, director, choreographer and producer. Peter Pan is her first American assignment, fol- lowing three revues staged in London. – Notes compiled by GEORGE DALE
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