When I was a child I loved Peter and the Wolf. I am not unique in this. Perhaps Prokofiev’s most recognized tune, PATW is adored by children the world over, and is one of the most popular methods of introducing them to the wonders of the symphony. Each character in the tale is portrayed by a single instrument playing a memorable theme, all of which are introduced in the opening moments of the piece, leading newcomers through the sections of the orchestra one at a time. When I first experienced this, it was my own parents' theatre company performing in conjunction with the Young Peoples Philharmonic, with my father acting the role of the Wolf. Later, I would sneak into the costume storage in our garage, put on his musty costume and parade about unseen, gnashing my teeth and growling. Soon after, I discovered the Weird Al / Wendy Carlos version of PATW, with its synthesized orchestra and silly adaptation of the narrative (in Al’s version, the wolf catches the duck because he is wearing new tennis shoes, and Peter captures the wolf with his grandfather’s dental floss). I couldn’t get enough of it. I had the entire thing memorized, and would spend whole afternoons with my best friend in the yard, reciting it and acting out all the parts. As I grew up, however, Weird Al became less amusing and I haven’t given Peter and his escapades another thought until now.
Today, I was fortunate enough to be slipped a ticket to the Birmingham Children’s Theatre’s production of PATW at the BJCC, directed by Abe Reybold. I had forgotten the themes and the story, remembering it as a version of The Boy Who Cried Wolf, but it all came rushing back to me in the first few moments of the performance. And what a performance it was! Expecting a traditional version, I was delighted to be presented instead with an adapted script that bookends the original narrative with scenes of Prokofiev's writing the score. The telling of the usual story is presented at first by members of Prokofiev’s family and household acting out the tale, but concludes in a whimsical dream sequence replete with floating clocks and chairs. The small cast, who each play multiple roles, have a vibrant physicality which held my attention and, more impressively, the attention of hundreds of small children through long orchestral pieces with little dialogue. I glanced around at the audience a few times, and saw only a sea of tiny faces turned towards the stage. No one had their cellphone out, or was whispering and giggling with their pals. Their rapt attention was held by graceful dancing, costumes and set design that were colorful without being gaudy, and the music itself, which was excellently performed and delightful to listen to. I particularly enjoyed the back and forth between the actor portraying Prokofiev and the orchestra as they try to figure out which instruments should represent each character. I think we can all agree that the tuba does not make a very good cat.
Unfortunately, there are no more public performances of PATW left. I have enticed you with unavailable treats, but I promise it was not my intention to tease. I have a different purpose. As many of you may be aware, the Jefferson County Commission recently cut five million dollars in funding for the Cultural Alliance of Greater Birmingham, an act which endangers the welfare of the city. As a newcomer to Birmingham with an interest in the growth of the artistic community, I am unnerved by the Commission’s willingness to knock the legs out from under a vital part of our economy. Artistic institutions will now increasingly need to rely on you, their patrons, to supply them with the funding they depend upon for survival. Without them, the quality of life here will drop significantly. The types of wonderful performance embodied in this production of Peter and the Wolf will no longer be available to you and your children. Instead, they’ll have to bask a little longer in the stupefying rays of the flatscreen. So before we all turn into mindless zombies, take a moment to consider what you can do to help. Donate a little to your favorite non-profit. Write an email to the president of the Jefferson County Commission. Bug your friends about it until they refuse to have anything to do with you. Tattoo “fund the arts” on your forehead. You pick your level of involvement, but GET INVOLVED before we all live in a city we can’t stand.
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