In Polished ‘Peter Pan,’ More Than Dust Glitters

“Peter Pan” remains an enduring favorite for many reasons--perhaps most of all for its ability to turn back time. For, even as it laments the inevitability of growing older, it quietly reverses the aging process, transforming adults into kids who laugh, cry and, when the time comes, clap like crazy to save poor Tinkerbell.

This magic lives anew as Civic Light Opera of South Bay Cities presents the revamped “Peter Pan” that Cathy Rigby recently popularized here and in New York. Rigby doesn’t appear in this production, and director Glenn Casale wasn’t available to stage it. But Janet Higgins, Rigby’s Broadway understudy, delightfully fills the title role, and Alan Coats, a dance captain for the show, ably re-creates the original. The former production’s sets are also here, as are several cast members.

The presentation may not score points for originality, but it is quick-moving and polished, making it just the ticket for parents looking to introduce their children to theater or, at least, to keep them distracted in the antsy days leading into the holidays. It’s also a good bet for adults who, with or without children, can’t face another “Christmas Carol” or can’t land good seats to “The Lion King.”

While “Peter Pan” appeals to the kid in us all, it also speaks to the adult. Its powerful metaphors--the desire for eternal youth, the inappropriate behavior that sometimes accompanies that yearning, and the ideological clashes that result between men and women--are touchstones of modern life, serving as references for countless self-help books and seminars.

In one last metaphoric twist, a woman portrays the boy who refuses to grow up. Compact and muscular, with close-cropped blond hair, Higgins is believably boyish--an illusion she completes by putting swagger in her step and braggadocio in her voice. She is by turns fearless and vulnerable, endearing and exasperating as she ventures into the bedroom of the three Darling children (Elisa Sagardia, Josh Breslow and Graham Miller) in turn-of-the-century London, then leads them on a highflying adventure to the island of Lost Boys, otherwise known as Neverland. There, Peter and the Darlings befriend Neverland’s resident Indians (in portrayals considerably, though not entirely de-stereotyped since the 1954 Mary Martin version) and battle the comically malevolent pirates led by Captain Hook (Sam Zeller).

Higgins’ Peter Pan is never more appealing than in song, when her clear voice soars as fleetly as if fueled by Peter’s magic pixiedust.

As Captain Hook, Zeller combines the grandness of opera with the plebeian comedy of the British music hall to come up with a villain who tickles our funny bone even as he earns our hisses (which the audience at Saturday’s matinee gleefully provided).

In the capable hands of music director-conductor Steven Smith, the songs--by Mark Charlap, writing with lyricist Carolyn Leigh, and Jule Styne, working with Betty Comden and Adolph Green--sound as lovely as ever, taking wing in “I’m Flying” and romping jauntily through “I Won’t Grow Up.” And director-choreographer Coats’ attention to detail is especially appreciated in his re-creation of Patti Colombo’s dance to “Ugg-a-Wugg,” which turns the stage into one huge drum as the Indians and Lost Boys pound it in celebration of their newfound friendship.

Who needs pixie dust when you’ve got this kind of magic on hand?

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* “Peter Pan,” Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd. Tuesdays-Fridays, 8 p.m.; Saturdays, 2 and 8 p.m.; Sundays, 2 and 7 p.m. Ends Dec. 17. $30-$45. (310) 372-4477. Running time: 2 hours, 35 minutes.

Janet Higgins: Peter Pan

Sam Zeller: Mr. Darling/Captain Hook

Elisa Sagardia: Wendy Darling

Josh Breslow: John Darling

Graham Miller: Michael Darling

Michael Nostrand: Mr. Smee

Michael Criste: Slightly

Kim Arnett: Tiger Lily

A Civic Light Opera of South Bay Cities production. Conceived by Jerome Robbins, based on James M. Barrie’s play. Directed on Broadway by Glenn Casale. Directed, choreographed by Alan Coats. Musical director-conductor Steven Smith. Set John Iacovelli. Costumes Thomas G. Marquez. Lights Michael Gilliam. Flying effects ZFX Inc. Production stage manager Steven R. Donner.