Dayton Ballet’s ‘Peter Pan’ takes flight at the Schuster

“I feel the take-away is that eventually everybody has to grow up and become adults, but you can still have that young energy and enthusiasm with you,” Carter says now.

Carter is hoping that as a male in a leading role, he’ll help inspire and encourage boys to think about participating in ballet. He says it’s the biggest challenge in his industry. “When I was in high school, I danced with 15 women and no other boys,” he recalls. “”When I was growing up, it was easy to get bullied and picked on.”

He believes times are changing. “Today, everything is more accessible,” he explains. “Ballet is more out there, partly through social media. I think people can express themselves and do what they want to do. I hope it stays that way.”

The ballet is based on the classic tale by J.M. Barrie. The challenge of portraying Peter, Carter says, is being on stage for an hour and a half. He’s both excited and nervous about flying. “I’ve never flown before,” he says.

Taking flight

Thanks to the expertise of Harry Christensen, Carter and three other members of the cast will be in good hands. Christensen has aided actors and dancers to fly for decades. He’s part of “Flying by Foy,” a Las Vegas-based company that has worked on projects ranging from “The Lion King” to “Harry Potter and the Cursed Child” on Broadway.

As you’d guess, “Peter Pan” is a staple. “My company flew Mary Martin in ‘Peter Pan,’” says Christensen, who caught the flying bug himself when he worked as a helper in a production of “Peter Pan” in Springfield, Missouri.

When his plans to be an actor didn’t work out, he returned to flying. “This way I get to perform, direct, and I’m still performing,” he says. “This isn’t automated, we’re dancing with the performers.”

When he comes to a town like Dayton, his job is to set up the equipment, train five assistants, rehearse with performers and work the live shows.

He says most performers aren’t afraid. “If they are, we address that,” he explains. “Usually after a few sessions, they feel more secure in the harness. It holds you in the air and it’s kinda like a warm hug.”

Christensen says a lot depends on the performer. “It’s a leap of faith,” he says. “They have to give us control and learn to partner with us. Some get it amazingly well and for some, it’s more difficult. But they always get it and look fabulous in the air.”

His company first designed the “Peter Pan” ballet with internationally-known choreographer Septime Webre in 2000. It’s the choreography that audiences will see in the upcoming performances at the Schuster. “I’ve chased this ballet around the world, including Dayton,” he says. " My main job is to keep everybody safe.”

In addition to Carter, principals include Mia Sanchez as Wendy and Emily Luria as Tinkerbell.

Making music

Carmon DeLeone, music director of Cincinnati Ballet, composed the “Peter Pan” music in the summer of 1994 at the request of the company’s artistic director at the time, Peter Anastos. It was his first full-length ballet.

His score has since been performed in cities across the United States and abroad. DeLeone conducted the debut of “Peter Pan” in London during a 28-performance run with the Atlanta Ballet at the prestigious Royal Festival Hall.

“I worked all night, every night, to get it done,” he recalls. “I borrowed little pinches of ideas from many of my favorite composers. The theme for Peter Pan himself I borrowed from myself because I’d written live music for Kings Island and wrote an advertising jingle that was never used. When Peter is on stage, he’s dancing to that jingle!”

He says he likes to kid around and take on projects that have humor within them. “Peter Pan” was the perfect vehicle and he hid a lot of musical jokes in the score. “For example, there’s a piece by Prokofiev called ‘Love for Three Oranges,’ so I used one of the themes for the character of Captain Hook. What could be my reasoning for doing something so crazy? Well, if you’re in a gambling casino, you find three oranges or three strawberries on a slot machine and when you match up three, you get money. Since they call slot machines ‘one-armed bandits,’ I thought of Captain Hook!”

His crocodile music is based on three notes from a favorite piece recorded by Miles Davis. And there are hints of George Gershwin, and of a Benjamin Britten sea piece when connected to the Jolly Roger pirate ship.

DeLeone has Dayton connections. In the 1960s, he was the principal French horn player for the Dayton Philharmonic Orchestra and worked on many productions for the Dayton Contemporary Dance Company. “While I was teaching at Miami University I was a member of a jazz fusion group, ‘Bout Time,’ and most of our playing was in the Oregon District.”

When he’s composing, DeLeone says he just wants to please the person who has asked him to compose and the audience members who will later see and hear his music. “I just want them to be satisfied and happy.”

Dayton Ballet Artistic Director Karen Russo Burke says “Peter Pan” is a perfect introduction to dance. “I love the humor, the characterization, it’s easy on the eyes,” she says. “It’s one of the most accessible ballets for young people.”

HOW TO GO

What: Dayton Ballet’s “Peter Pan” accompanied by the Dayton Philharmonic Orchestra.

When: Friday, April 21 and Saturday, April 22 at 7:30 p.m.; Sunday, April 23 at 2:30 p.m.

Where: Benjamin and Marian Schuster Performing Arts Center, 1 W. Second St. (corner of Second & Main Streets), Dayton.

Tickets: $30-$90, available at the Schuster Center Box Office at 937-228-3630 or online at www.daytonperformingarts.org/tickets. Senior, teacher, student, and military discounts are available at the box office. For more information on this production visit www.daytonperformingarts.org/tickets.

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