Organization

Conductor

Hermann Bäumer

Stage director

Nina Kühner

Set designer

Costume designer (+1)

Hanna Zimmermann

Costume designer

Claudia Caséra

Chorusmaster

Composer (+2)

Sebastian Hernandez-Laverny

Dramaturge

Sonja Westerbeck

Countertenor (+2)

Yosemeh Adjei

Peter Pan

Tenor (+2)

Mark Watson Williams

John Darling

Soprano (+1)

Alexandra Samouilidou

Michael Darling

Bass (+5)

Gregor Loebel

Nana

Tenor

Myungin Lee

Smee

Assistant Conductor

David Fernández-Caravaca

Lighting designer

Lighting designer (+1)

Ulrich Schneider

Maren Schwier

Wendy Darling

Bass (+3)

Stephan Bootz

Mr. Darling

Captain Hook

Mezzo-soprano (+2)

Verena Tönjes

Mrs. Darling

Mezzo-soprano (+1)

Anke Steffens

Starkey

Baritone (+3)

Dennis Sörös

Slightly

Bass

Seok-Gill Choi

Curly

Tenor (+1)

Agustín Sánchez Arellano

Nibs

Frederik Bak

Tootles

Staatstheater Mainz

Orchestra

Philharmonisches Staatsorchester Mainz

Chorus

Herrenchor des Staatstheater Mainz

Kleines Haus

A boy, dressed all in green, flies over the island of Neverland - and is world famous: Peter Pan.
He moves effortlessly between the real world and the realm of fantasy. One night he takes the girl Wendy and her two brothers John and Michael to the place where everything you believe in happens. There they experience all sorts of exciting and fantastic things and finally hunt down pirate captain Hook together.
The fictional character Peter Pan, invented by James M. Barrie, has been flying through Neverland since 1904 and his adventures have already been filmed a good twenty times.
Composer Richard Ayres dedicates a sound-intensive opera for young and old to the hero who never grows up and deliberately sets himself apart from the belittling musical versions of recent decades with his furious score and exalted vocal parts.

Nina Kühner's production is dedicated to the exuberant imagination of a children's world that is unlimited in terms of size and time. In a story that alternates between reality and fantasy as effortlessly as it is inventive, the director sometimes has to ask oneself very simple questions: What does Peter Pan actually look like? How does a time-eating crocodile get onto the stage of the Staatstheater? And what language does the elf Tinkerbell, who is constantly buzzing around Peter, actually speak? In this case, Adriane Große communicates as a guest in the production on “Elfisch”, who, as a deaf person, speaks sign language with all the protagonists and thus gives the story an additional level. And what about flies? ... So much can be revealed: With fantasy and imagination, even a whole children's room can do it.

Peter Pan, Ayres

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