The Origins of Peter Pan

Recently, those of us who have access to a television set were witnesses to a surprising spectacle. One of the well-known actresses of Broadway starred in a fairy tale, playing the part of a little boy. This in itself would not be too surprising if it had been on one of the usual children's programs, but this play was broadcast at night, for a period of two hours, for an audience of many millions of viewers, adults as well as children, from coast to coast. I am referring to the play, “Peter Pan”, by Sir James Matthew Barrie. This was a complete Broadway production, televised nationally at a cost of approximately $400,000, and the next day it was hailed by the critics as “the most polished, finished, and delightful show” (1) that ever appeared on television.

This is certainly an unusual honor bestowed on a simple whimsical fairy tale, and a phenomenon worth investigating. What makes all these sophisticated, mature adults take this play so seriously? How is it possible that all audiences during the Broadway run, not only at children's matinees but also in the evenings always answered with a rousing “Yes!” to the question: “Do you believe in fairies?” What special magic does this play have that would cause adults to revert willingly and cheerfully back to childhood? The theme of this play must touch on a basic and universal need, shared by everybody, which has made audiences react that way for the period of half a century.

The play “Peter Pan” was first produced in 1904 and has been revived six times since then, and each time the part of Peter Pan was played by a prominent, actress of that generation. From the first production in 1904 in London and in 1905 and 1906 on Broadway with Maude Adams in the title role, through another revival with Miss Adams in 1912 and 1913, a revival in 1924 with Marilyn Miller and in 1928 with Eva Le Galienne, another revival in 1950 with Jean Arthur, and finally the recent brilliant revival with Mary Martin, the play had a total of over 700